Australian
Screen

Teacher’s notes

provided by

This clip shows footage of Michael, the son of the documentary’s subject, Laura Henkel, and sister of the filmmaker, Cathy Henkel, with his dogs in South Africa. In an interview, he denies blaming his mother for the rape she experienced as a young woman. The film then cuts to his mother, who gives her own perspective on the incident. Cutting back to the interview with Michael, the filmmaker then argues with him about the meaning of blame. An intertitle follows, stating that there was a three-hour argument before filming resumed. An emotional Michael is then shown apologising for any hurt he may have caused his mother. The scene then cuts to a family video of Michael as a child with his mother, and the interviewer thanks him.

Educational value points

• Society’s apportioning of blame is an important factor in rape cases. In many instances, the victims are blamed for the rape. The example shown in this clip indicates how a woman’s actions, even those as innocuous as answering a knock at the door, can be perceived as a causative factor. Other factors, such as dressing in a certain way, drinking alcohol or frequenting particular venues are debated in the courts and in the media as potentially having contributed to a victim somehow 'deserving’ sexual assault.

• Some of the attitudes and emotions that often follow rape and add to the trauma of the victims are shown. Victims may experience blame, lack of sympathy, distancing of loved ones, disbelief, shame and anger as well as, in this case, Michael’s inability to recognise his own prejudices. These elements can contribute to the suffering experienced by rape victims.

• Society is gradually coming to recognise that rape is a profoundly life-altering crime. Longer sentences for perpetrators and a drive to increase convictions reflect this changing attitude, although it is estimated that only 15 per cent of sexual assaults are reported. Other trauma-minimisation strategies include videotaping victims’ evidence so that they do not need to face their attackers and re-using victims’ evidence at the first trial if a second trial is required.

• The clip makes the point that rapists are not necessarily easy to recognise. Australian statistics reveal that, in the majority of sexual assault cases, the perpetrators are family members or otherwise known to the victim. This challenges stereotypes of 'stranger danger’ and the myth that rapists might be from any particular class, ethnic group or age range.

• Long-term trauma results from rape, not only for the victim, but for their family. Michael’s estrangement from his mother and family is revealed here, and the poignancy of this separation is emphasised by the use of the video showing tender affection between mother and child. The documentary explores Michael’s efforts to grapple with his feelings, to 'forgive’ his mother and to let go of the need to blame her for her suffering.

• The clip showcases the work of director Cathy Henkel. Henkel has been a writer, director and producer of documentaries since 1988, also working in the industry as a cinematographer. This documentary won a number of accolades and awards, and is evidence of Henkel’s extreme personal commitment to pursuing justice for her mother through filmmaking. In 1992, Henkel formed Hatchling Productions to create documentaries, educational videos and short films.

This clip starts approximately 49 minutes into the documentary.

We see Michael outside his house, with his two dogs.
Narrator After she’d moved to Australia, Laura had very little contact with her son and granddaughters and the attack was a taboo subject that was like a barrier between them. She felt Michael still blamed her.

Michael is being interviewed by Cathy.
Michael I blamed her?! Not a chance.
Cathy Henkel You said it was her fault for letting him in the house.
Michael That’s not blaming somebody.
Cathy That’s how it felt to her.
Michael Well, that’s not blaming somebody. What do you say to the person, you say ‘there is a vicious lion,’ you go to near the lion park and you say ‘those lions are man-eaters. Do not get out of your car.’

Laura Henkel is being interviewed.
Laura Henkel He didn’t look like a vicious lion. He looked like a handsome, presentable young man. I mean, what does he think these people look like? That they’re walking around with a label on their back that says ‘rapist?’ I mean, does he think that I’m so unintelligent that I would let a person into the house who was dicey? But Michael has always thought this and he still does.

We return to the interview with Michael.
Michael I don’t know what I’m supposed to do. You keep on pointing your finger at me like I’m the big, bad ogre and I just am so mean to everybody. Because I don’t have this magical way of showing feelings and expressing myself and doing the big huggy, huggy thing with people — it doesn’t work. I know what I feel. Now, sure that was tough. I don’t think I’d want to go through that.
Cathy When you say ‘why did you do that?’
Michael That’s not blame. It’s not blame! It’s a question.
Cathy It implies a blame.
Michael Well then, that’s it.
Michael stands up to leave the interview.
Cathy No hang on. Don’t go.
Michael No, no. If you’re going to harp on something like that and you’re going to pick and keep on saying that I was blaming Laura, you can forget this right now because I did not blame anybody.
We see Michael walking down his driveway with his dogs. A title card reads ‘After a three hour argument . . .’ Michael has returned to the interview.
Michael I never realised that one little statement like that could cause Mum to have so much trauma. Do you think I could tie this together? Do you think I saw the connection there? I didn’t see it.
We see footage of Laura and Michael when Michael was a baby.
Michael I know that in my heart I had the right intentions. I would like to help, but I don’t know how. I’m — you’ve actually got me into a place where I’m very, very — how can I put this? — I’m sorry and I really hope that this can make it better. That’s all that I can say.
Cathy Michael that’s — thank you.
Michael smiles.