I watched Preconceived, so you don't have to

Unveiling the Bias: Manipulative Tactics in the Documentary "Preconceived"

The documentary Preconceived positions itself as an exposé of crisis pregnancy centers (CPCs), aiming to reveal what it describes as deceptive practices by these organizations. However, a closer examination of the film's production techniques and narrative choices suggests that it employs manipulative tactics to advance a biased viewpoint. By analyzing the use of lighting, the imbalance in representation between pro-abortion activists and pregnancy center representatives, and the strategic application of music, we can uncover how the filmmakers influence audience perception. Additionally, the personal stories highlighted in the documentary further reveal an underlying bias that merits critical scrutiny.

Imbalanced Representation

The documentary also displays a significant imbalance in the number of pro-abortion activists compared to representatives from pregnancy centers. By giving more screen time and narrative focus to critics of CPCs, the film limits the opportunity for pregnancy centers to present their perspectives fully.

Several pro-abortion advocates, including politicians, authors, and activists, are prominently featured:

In contrast, representatives from pregnancy centers or pro-life organizations include Heartbeat International, Stanton Healthcare and influencer Christine Yeargin. The limited inclusion of these voices contributes to a one-sided narrative, reducing the complexity of the issue to a simple dichotomy of right versus wrong. 

Strategic Use of Music

Music in film subtly influences the viewer's emotional state and can reinforce the intended message of a scene. Preconceived utilizes this tool to further its critical perspective on CPCs.

Throughout the documentary, segments featuring pregnancy centers or their representatives are often accompanied by music that evokes skepticism or unease. This choice of soundtrack primes the audience to question the credibility and intentions of these organizations before they even speak.

Conversely, scenes with pro-abortion activists or clients sharing negative experiences with CPCs are underscored with empathetic or neutral music, fostering a sense of trust and alignment with their viewpoints.

Highlighting Bias Through Personal Stories

The documentary centers on the stories of two clients, one of whom is Maleeha, a woman who visited a pregnancy center in Texas over eight years ago. Her narrative is a cornerstone of the film's critique of CPCs. However, it is noteworthy that Maleeha is now an active abortion advocate, serving as the Deputy Director at the Texas Equal Access Fund (TEA Fund).

While Maleeha's experiences are valid and contribute to the broader conversation, her current role as an abortion activist may influence her perspective on her past interactions with CPCs. The film does not sufficiently disclose this potential bias to the audience, which is essential for a balanced understanding of her testimony.

Moreover, the documentary presents Maleeha's story alongside that of Maria, a client who chose to continue her pregnancy after visiting a pregnancy center. While Maria expresses love for her child, the film emphasizes her struggles, subtly suggesting that her choice led to hardship. This portrayal contrasts with the positive light cast on Maleeha's life post-abortion, reinforcing the documentary's biased narrative.

Manipulative Use of Lighting

Lighting is a powerful tool in filmmaking, capable of shaping the audience's emotional response to the subjects on screen. In Preconceived, this technique appears to be employed selectively to cast certain individuals and organizations in a negative light.

For instance, when interviewing representatives from pregnancy centers or pro-life organizations, the filmmakers often use dim or harsh lighting. A notable example is the segment featuring Heartbeat International. The interview is set against a dark backdrop with an American flag conspicuously placed behind the subject. This setup creates a somber and somewhat ominous atmosphere, subtly influencing viewers to perceive the organization with suspicion or distrust.

In contrast, interviews with pro-abortion activists and critics of CPCs are presented with warm, well-lit scenes that evoke feelings of comfort and credibility. This disparity in lighting not only affects the aesthetic quality of the film but also serves as a visual cue that guides the audience toward a predetermined judgment about the people and organizations featured.

Conclusion

Preconceived employs a combination of manipulative filmmaking techniques to advance a particular viewpoint on crisis pregnancy centers. Through selective lighting, imbalanced representation of voices, strategic musical choices, and the highlighting of personal stories with underlying biases, the documentary shapes a narrative that may not fully encompass the complexity of the issue.

Critical consumption of media requires awareness of these tactics. By recognizing the methods used to influence perception, viewers can engage more thoughtfully with the content and seek out additional perspectives to inform their understanding. The conversation surrounding reproductive rights and pregnancy centers is multifaceted, and it is essential to consider all sides to foster a more comprehensive and empathetic dialogue.

More in this category: « Here for Her
back to top