Within this study I would like to explore the importance of one particular biblical text upon the way in which evil has been portrayed, particularly within the cinema. The text concerned is the Book of Revelation, perhaps the most influential text of all in terms of the range of the weird and wonderful imagery it has inspired within art in general, and within cinema in particular. I propose to do this by concentrating on three separate, but interlocking, sub-themes: these I have entitled Timepiece, Talisman and Tattoo.

By Timepiece I have in mind the importance that is placed upon establishing a correct chronology in interpretations of Revelation. In this respect the biblical text is important in that it enables us to establish the divine timetable of history. It is crucial for interpreters to be able to discern the signs of the times, to know where they are within the overall plan of history. There has always been a great deal of interest in constructing elaborate chronological charts, matching biblical clues with people, places, and events, in order to plot out our place in the divine timetable. Most often the establishment of the timetable includes some sort of identification of the personified evil “beast” of Revelation 13–17. Perhaps the obvious place to start in demonstrating this is with the German artist Albrecht Dürer from Nürnberg. Dürer had an astonishingly varied career as a painter and graphic artist, but the series of 17 woodcuts that he executed depicting The Apocalypse in 1498 is arguably his most influential work.