To make Rape, Ono's cameraman Nic Knowland picked up a woman in a London cemetery and pursued her, relentlessly, through the streets, into a friend's flat and finally to her own place. Speaking only German and Italian, she can neither discern why she is being filmed nor make her stalkers go away; other women appear to be accomplices. She becomes frantic. Usually interpreted as a realization in the extreme of the paparazzi syndrome, Rape speaks (rather screams) to the cinema, as well. And specifically, to woman as she is captured in the cinema-her inability to communicate from “behind the screen,” pursued by a (phallic) lens and microphone, the camera so close as to refuse the whole picture, a cameraman whose silence is power.