390:
the rape of the protagonist, followed by their recovery where they take on the role of the avenger, and then the third phase where they pursue the act of revenge. In the case of The Book of
Revelation, it has been suggested that during the second and third phase Daniel fails to transform and remains destabilised. Much of the rape trauma is depicted in the form of flashbacks, as Daniel's captivity is revealed through a sequence of physical assaults and sexual abuse. Mcwilliam and Bickle argue that the gendered norms are emphasised to the audience during Daniels forced masturbation scene as he "reasserts his subjectivity by telling the women 'when a man fucks a woman, no matter how beautiful she is, whenever he closes his eyes he always thinks of himself'. This briefly reinstates the male as active (the one who 'fucks') and beauty as a passive quality possessed by women". The continued destabilisation renders Daniel to be transformed into an outsider as he remains vulnerable and fails to adapt to his new set of circumstances. In alignment with the rape-revenge genre, Daniel is reduced from an active physical state to passive one after he is sodomized. McWilliam argues that this physical change is associated with the female body becoming a passive object. In Daniel's case, his search for vengeance is disorderly, and he is no longer a functioning member of society. As Mcwilliam and Bickle argue "rather than offering revenge as a counter-narrative to rape trauma, the film sets up revenge as a site of further trauma, an expansion of the initial crime. In terms of the rape-revenge genre, Kokkinos' text denies the role of revenge as a form of return or reinstatement of the status quo: instead, the outcome of rape is a rolling state of trauma". Academic Claire Henry similarly argues that Kokkinos successfully re-imagines the genre from the perspective of sensitivity. This is the case due to the male rape victim and an emphasis on Daniel's traumatic life post-rape.
399:
characters, including his attackers. This interpretation of the film becomes apparent when Daniel is sodomised and reduced to a passive participant in his own rape and post-rape world. In contrast, academic Janice Loreck points out that this transformational scene feels anti-voyeuristic rather than objectifying the male body. Instead, she suggests that Daniel's delirium and attempted objectification are confronting, but falls short of objectifying the male body. Loreck therefore proposes that such confrontation forces the viewer "into a reflexive awareness of his or her act of looking, disrupting any sense of voyeuristic surreptitiousness and imaginary unity". Daniel's post-rape trauma has also been interpreted by
Mcwilliam and Bickle who apply Sara Ahmed's Queer Phenomenology. The duo suggest that the rape trauma and objectification of the male body is an issue of spatial orientation. In their article 'Re-imagining the rape-revenge genre: Ana Kokkinos 'The Book of Revelation', the pair adopt Ahmed's view that bodies "become orientated by how they take up time and space' and 'orientations towards sexual objects affect other things that we do such that different orientations, different ways of directing one’s desires, means inhabiting different worlds". Mcwilliam and Bickle argue that through this lens, Kokkinos re-defines the rape-revenge genre through her departure from the normative female victim, as when Daniel is sodomised they note "the shift in orientation from vertical to horizontal can be interrupted as Daniel’s transformation from subject to object".
422:
review of the film published in Sight & Sound views the film as being "hyperbolic absurdity". He additionally contends that the controlling logic of the film is distorted and therefore undermines its rape-revenge genre tag. For instance, it's unclear whether it's the male fantasy of being humiliated or the female fantasy to degrade a man. In another review by
Fincina Hopgood the film is criticised as there is a lack of connection between character and audience. She argues that the audience has insufficient time to build rapport with Daniel prior to him being raped. Instead, the focus on the female characters makes it difficult to empathise with Daniel as the focus is thrust upon him. Furthermore, she claims that Daniels' inability to articulate his feelings means the audience is reliant on his body language to express his emotional status and therefore deducts from the overall message of the film. Russell Edwards claims that the film struggled to deal with the topic of rape in an intellectual and emotional manner. He accordingly places blame on lead actor,
369:, to work on the dance choreography of the film. To enable Kokkinos' desire for dancing to be a key focus of the film, Tankard brought dancers who she already had previously worked with. Initially, she was concerned with the casting of Daniel and Bridget, raising anxieties that they would not pass as credible dancers. However, after Tom Long and Anna Torv spent three months training with Tankard, her fears were alleviated. Tankards' involvement also influenced
247:
the culprits, who he has reason to believe are from the vicinity, he dates every woman who bears a resemblance to his abductors, hoping to identify them. This leads him into trouble with the law, and to an eventual breakdown that may or may not prove cathartic. The film concludes on this ambiguous note, with Daniel weeping in the arms of a policeman.
362:, was cast as a foil character to Julie, who is self-absorbed in dance, yet fails to extend that passion into other areas of her life. Kokkinos notes that her biggest challenge for the casting of the female leads was that their identity remains anonymous yet the audience is expected to engage with them like the lead Daniel.
239:), an Australian classical dancer, is drugged and abducted in an alley by three hooded women. They proceed to hold him in an abandoned warehouse for about two weeks, mutilating him sexually and using him for their own physical and psychological gratification, before dumping him blindfolded from a car near his home.
398:
A number of academics cite the significance of
Kokkinos' minimal use of dialogue whereby attention is directed to the physicality of the characters' bodies. Kelly McWilliam and Sharon Bickle point out that language in the film is representative of Daniel's uncertain relationship with the other female
389:
One interpretation of the film is that it re-imagines the rape-revenge genre. It is argued that this is achieved through the gendered reversal of a male rapist with a female. Academics, Kelly McWilliam and Sharon Bickle note that this type of film follows a three part structure which firstly features
437:
Australian film reviewer, Paul Byrnes assessed the film in a positive light, pointing to
Kokkinos' willingness to explore a controversial subject and depict rape-revenge in a more confrontational manner than prior Australian directors. Byrnes argues that the film is driven more by ideas than shock
407:
The most widely acknowledged
Biblical allusion is in the film's title, which is a reference to the Book of Revelation in the New Testament. As this section of the New Testament depicts the second coming of Christ and describes an armageddon-like vision of death, it has been suggested that Daniel's
337:
and more sterile urban scapes. The change between the two settings is timed with Daniel's abduction and rape, and is purposefully crafted by
Kokkinos to represent his internal trauma. In conjunction with the shifting city-scape, Kokkinos elected to employ blackouts as transition shots to emphasise
246:
to the authorities, nor reveals it to family, friends or colleagues. In the aftermath, he loses his ability to dance and has problems readjusting to normal life. His sceptical live-in lover, a ballerina, suspecting that he was unfaithful to her during his absence, leaves him. Obsessed with finding
421:
The film has been the subject of criticism from numerous academics and film critics. Academic Claire Henry posits that the film could have enjoyed more success had it been clearly represented as an erotic thriller rather than an examination of rape suffering. Notable film critic Mark Fisher in a
433:
Film critic Megan
Lehmann similarly posits the scene that contains sodomy fails to capture the subject of rape-revenge in an authentic manner and is more reflective of soft-core porn. This in turn, reduces the effectiveness of the emotional convulsions during the flashback scenes. She further
354:, who plays Olsen, was drawn to the script due to Kokkinos' reputation for being meticulous in her preparation and emphasis on rehearsing for perfection. In contrast to the depiction of Julie in the novel, Kokkinos subverts her identity for an Australian context and casts
31:
438:
value, whereby the reversal of the gendered norms concerning rape allowed
Kokkinos to reinvigorate the genre in a way that allows the audience to experience the emotions of the characters and empathise the trauma of a rape victim.
426:, claiming he is "A limited actor whose lethargic presence serves the post abduction scenes well, Long lacks the vitality in the opening reels to provide a basis for a character arc". He however notes, the soundtrack composed by
349:
clinched her role as Isabel based on her strong dancing ability as she had grown up dancing with her mother who was a professional. Regardless, Kokkinos had been a long time admirer of her performances in other roles.
622:
McWilliam, K. (2019). The Book of
Revelation: Othering the Centre. In L. Bolton & R. Rushton (Eds.), Ana Kokkinos: An Oeuvre of Outsiders (pp. 76-82). Edinburgh, United Kingdom: Edinburgh University
802:
434:
criticises Kokkinos' reliance on the gender role reversal and the subplot of Scacchi's character, claiming that the film would have been improved had it focused on the aftermath of the trauma.
635:
Henry, C. (2014). The Book of Revelation. In R. Curtis & E. Buchman (Eds.), Revisionist rape-revenge: redefining a film genre (pp. 125-128). New York, United States: Palgrave Macmillan.
321:
The initial shoot took place over seven weeks during March and April 2005. However, the initially planned final week of shooting was delayed four months due to lead actor,
496:
848:
408:
struggle to maintain control over his body, and the power of rape to bring about devastation, echoes the apocalyptic nature of the biblical chapter.
863:
381:
The film has been the subject of discussion and interpretation from numerous critics as it explores a gendered perspective of rape and sexuality.
868:
843:
833:
828:
585:
McWilliam, Kelly; Bickle, Sharon (3 September 2017). "Re-imagining the rape-revenge genre: Ana Kokkinos' The Book of Revelation".
451:
493:
430:
in conjunction with Meryl Tankard's choreography contributes to the authenticity of the setting and poignant atmosphere.
853:
543:
446:
The film was nominated for Best Screenplay - Adapted, Best Original Music Score and Best Costume Design awards at the
721:
858:
838:
750:(Lehmann, M. (2006). "The Book of Revelation".(Movie review) . Hollywood Reporter, 395(24). The Nielsen Company.)
447:
531:
702:
468:
492:
Film Victoria. (2006). Australian Films at the Australian Box Office . Film Victoria, Victoria. Retrieved
733:
683:
473:
208:
427:
304:
345:
as Daniel was reliant on his dancing abilities rather than solely his skill as an actor. Similarly,
99:
823:
558:
224:
220:
117:
602:
292:
786:
765:
653:
594:
423:
342:
322:
256:
236:
192:
77:
530:
O'Neill, S. (2006). The Book of Revelation. Retrieved from The Book of Revelation website:
500:
355:
280:
494:
http://www.film.vic.gov.au/__data/assets/pdf_file/0004/967/AA4_Aust_Box_office_report.pdf
373:
who enhanced her dancing performance in the film by sitting in on many dance rehearsals.
30:
807:
212:
54:
817:
606:
557:
Byrnes, P. (2006). The Book of Revelation. Retrieved from Australian Screen website:
370:
366:
346:
286:
262:
243:
216:
196:
81:
544:
https://www.sensesofcinema.com/2013/contemporary-australian-filmmakers/ana-kokkinos/
351:
268:
200:
188:
85:
44:
598:
687:
657:
215:. It tells the story of vengeance of a dancer named Daniel who is abducted and
737:
333:. The production used forty-two locations, often switching between gentrified
298:
532:
http://static.thecia.com.au/reviews/b/book-of-revelation-production-notes.rtf
650:
Difficult subjects: women, violence and subjectivity in distinguished cinema
359:
334:
330:
326:
274:
204:
89:
542:
French, L. (2013). Ana Kokkinos. Retrieved from Senses of Cinema website:
797:
791:
463:
310:
780:
759:
341:
As dance is featured heavily in the film, the successful casting of
329:
setting of the novel and replaces it with the inner-city streets of
450:
in 2006. It won the Best Music Score (Cezary Skubiszewski) at the
559:
https://aso.gov.au/titles/features/the-book-of-revelation/notes/
803:
The Book of Revelation at the National Film and Sound Archive
580:
578:
576:
574:
572:
570:
568:
566:
325:, breaking his ankle on set. Kokkinos subverts the original
358:
who is an Indigenous Australian. Bridget, who is played by
242:
Traumatised, Daniel neither reports his kidnapping and
674:
Fisher, Mark (April 2008). "The Book of Revelation".
454:
Awards, where it was nominated for four more awards.
338:
Daniel's emotional isolation that proceeds his rape.
703:"'The Book of Revelation': Showing without Telling"
669:
667:
172:
164:
156:
146:
123:
113:
105:
95:
73:
65:
50:
40:
23:
618:
616:
187:is a 2006 Australian arthouse film directed by
707:Metro Magazine: Media & Education Magazine
8:
643:
641:
553:
551:
526:
524:
522:
520:
518:
516:
514:
512:
510:
508:
631:
629:
365:Kokkinos invited Australian choreographer,
29:
20:
648:Loreck, Janice Peta (16 February 2017).
485:
7:
682:(4). British Film Institute: 46–47.
277:as Bridget/ The Leading Hooded Woman
207:. The film is adapted from the 2000
849:Films scored by Cezary Skubiszewski
223:and the soundtrack was created by
14:
452:Film Critics Circle of Australia
864:Obscenity controversies in film
1:
869:Films based on British novels
761:The Book of Revelation (2006)
599:10.1080/10304312.2017.1315928
844:2000s mystery thriller films
834:2000s English-language films
885:
377:Themes and interpretations
829:Australian thriller films
701:Hopgood, Fincina (2006).
448:Australian Film Institute
28:
722:"The Book of Revelation"
658:10.4225/03/58a51687457fb
469:List of Australian films
732:(11). Los Angeles: 22.
499:9 February 2014 at the
808:The Book of Revelation
793:The Book of Revelation
782:The Book of Revelation
184:The Book of Revelation
176:A$ 271,261 (Australia)
24:The Book of Revelation
474:Rape and revenge film
219:. It was produced by
209:psychological fiction
16:2006 Australian film
854:2006 thriller films
403:Biblical references
225:Cezary Skubiszewski
118:Cezary Skubiszewski
720:Edwards, Russell.
394:Bodies as objects
180:
179:
876:
859:2006 drama films
839:Films about rape
768:
757:
751:
748:
742:
741:
717:
711:
710:
698:
692:
691:
671:
662:
661:
645:
636:
633:
624:
620:
611:
610:
582:
561:
555:
546:
540:
534:
528:
503:
490:
428:Cezary Biszewski
305:Odette Joannidis
139:
137:
136:7 September 2006
132:7 September 2006
33:
21:
884:
883:
879:
878:
877:
875:
874:
873:
814:
813:
777:
772:
771:
758:
754:
749:
745:
719:
718:
714:
700:
699:
695:
676:Sight and Sound
673:
672:
665:
647:
646:
639:
634:
627:
621:
614:
584:
583:
564:
556:
549:
541:
537:
529:
506:
501:Wayback Machine
491:
487:
482:
460:
444:
419:
414:
405:
396:
387:
379:
356:Deborah Mailman
319:
281:Deborah Mailman
253:
233:
149:
142:
135:
133:
126:
88:
84:
80:
60:
58:
36:
17:
12:
11:
5:
882:
880:
872:
871:
866:
861:
856:
851:
846:
841:
836:
831:
826:
816:
815:
812:
811:
805:
800:
789:
776:
775:External links
773:
770:
769:
752:
743:
712:
693:
663:
637:
625:
612:
593:(5): 706–713.
562:
547:
535:
504:
484:
483:
481:
478:
477:
476:
471:
466:
459:
456:
443:
440:
418:
415:
413:
410:
404:
401:
395:
392:
386:
383:
378:
375:
318:
315:
314:
313:
308:
302:
296:
290:
284:
278:
272:
266:
260:
252:
249:
232:
229:
213:Rupert Thomson
178:
177:
174:
170:
169:
166:
162:
161:
158:
154:
153:
150:
147:
144:
143:
141:
140:
129:
127:
124:
121:
120:
115:
111:
110:
107:
103:
102:
100:Tristan Milani
97:
96:Cinematography
93:
92:
75:
71:
70:
67:
63:
62:
55:Rupert Thomson
52:
48:
47:
42:
38:
37:
34:
26:
25:
15:
13:
10:
9:
6:
4:
3:
2:
881:
870:
867:
865:
862:
860:
857:
855:
852:
850:
847:
845:
842:
840:
837:
835:
832:
830:
827:
825:
822:
821:
819:
809:
806:
804:
801:
799:
795:
794:
790:
788:
784:
783:
779:
778:
774:
767:
763:
762:
756:
753:
747:
744:
739:
735:
731:
727:
723:
716:
713:
709:(150): 32–36.
708:
704:
697:
694:
689:
685:
681:
677:
670:
668:
664:
659:
655:
651:
644:
642:
638:
632:
630:
626:
619:
617:
613:
608:
604:
600:
596:
592:
588:
581:
579:
577:
575:
573:
571:
569:
567:
563:
560:
554:
552:
548:
545:
539:
536:
533:
527:
525:
523:
521:
519:
517:
515:
513:
511:
509:
505:
502:
498:
495:
489:
486:
479:
475:
472:
470:
467:
465:
462:
461:
457:
455:
453:
449:
441:
439:
435:
431:
429:
425:
416:
411:
409:
402:
400:
393:
391:
384:
382:
376:
374:
372:
371:Greta Scacchi
368:
367:Meryl Tankard
363:
361:
357:
353:
348:
347:Greta Scacchi
344:
339:
336:
332:
328:
324:
316:
312:
309:
306:
303:
300:
297:
294:
291:
288:
287:Nadine Garner
285:
282:
279:
276:
273:
270:
267:
264:
263:Greta Scacchi
261:
258:
255:
254:
250:
248:
245:
240:
238:
230:
228:
226:
222:
218:
214:
210:
206:
202:
198:
197:Greta Scacchi
194:
191:and starring
190:
186:
185:
175:
171:
167:
163:
159:
155:
151:
145:
131:
130:
128:
122:
119:
116:
112:
109:Martin Connor
108:
104:
101:
98:
94:
91:
87:
83:
82:Greta Scacchi
79:
76:
72:
68:
64:
61:Andrew Bovell
56:
53:
49:
46:
43:
39:
32:
27:
22:
19:
792:
781:
760:
755:
746:
729:
725:
715:
706:
696:
679:
675:
649:
590:
586:
538:
488:
445:
436:
432:
420:
406:
397:
388:
385:Rape-revenge
380:
364:
352:Colin Friels
340:
320:
269:Colin Friels
241:
234:
201:Colin Friels
189:Ana Kokkinos
183:
182:
181:
148:Running time
125:Release date
86:Colin Friels
59:Ana Kokkinos
45:Ana Kokkinos
18:
810:at Ozmovies
152:119 minutes
66:Produced by
41:Directed by
35:Film poster
824:2006 films
818:Categories
652:(Thesis).
480:References
317:Production
299:Zoe Naylor
173:Box office
51:Written by
688:237120956
607:152078372
587:Continuum
417:Criticism
412:Reception
360:Anna Torv
335:Melbourne
331:Melbourne
327:Amsterdam
301:as Astrid
295:as Renate
293:Zoe Coyle
289:as Margot
275:Anna Torv
265:as Isabel
259:as Daniel
211:novel by
205:Anna Torv
160:Australia
106:Edited by
90:Anna Torv
798:AllMovie
734:ProQuest
684:ProQuest
497:Archived
464:Art film
458:See also
424:Tom Long
343:Tom Long
323:Tom Long
311:Nina Liu
307:as Maude
283:as Julie
271:as Olsen
257:Tom Long
237:Tom Long
235:Daniel (
221:Al Clark
193:Tom Long
165:Language
114:Music by
78:Tom Long
74:Starring
69:Al Clark
738:1958972
726:Variety
168:English
157:Country
134: (
57:(novel)
736:
686:
605:
442:Awards
203:, and
623:Press
603:S2CID
217:raped
787:IMDb
766:IMDb
251:Cast
244:rape
231:Plot
796:at
785:at
764:at
730:403
654:doi
595:doi
820::
728:.
724:.
705:.
680:18
678:.
666:^
640:^
628:^
615:^
601:.
591:31
589:.
565:^
550:^
507:^
227:.
199:,
195:,
740:.
690:.
660:.
656::
609:.
597::
138:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
