Devils". Encyclopedia of Mormonism. Archived from the original on 2018-09-22 . Retrieved 2017-11-29.

Hoffmann, Tobias, ed. (2012). A Companion to Angels in Medieval Philosophy. Leiden: BRILL. p. 262. ISBN 978-90-04-18346-9. P. Papinius Statius (2007). Thebaid and Achilleid (PDF). Vol.II. Translated by A. L. Ritchie; J. B. Hall. Collaboration with M. J. Edwards. ISBN 978-1-84718-354-5. Archived from the original (PDF) on 2011-07-23. Kelly, Joseph Francis (2002). The Problem of Evil in the Western Tradition. Collegeville, Minnesota: Liturgical Press. p. 44. ISBN 978-0-8146-5104-9. Mallory, J. P.; Adams, D. Q. (2006). The Oxford Introduction to Proto-Indo-European and the Proto-Indo-European World. Oxford: Oxford University Press. p. 432. ISBN 978-0-19-929668-2. Several modern Bible-commentators view the "war in heaven" in Revelation 12:7–13 as an eschatological vision of the end of time or as a reference to spiritual warfare within the church, rather than (as in Milton's Paradise Lost) "the story of the origin of Satan/Lucifer as an angel who rebelled against God in primeval times." [9] [10] [11] [12] Some commentators have seen the war in heaven as "not literal" but symbolic of events on earth. [13] [14] The Church of Jesus Christ of Latter-day Saints [ edit ]

Litwa, M. David (2016). Desiring Divinity: Self-deification in Early Jewish and Christian Mythmaking. Oxford University Press. ISBN 978-0-19-046717-3. p. 46

The Christian tradition has stories about angelic beings cast down from heaven by God, often presenting the punishment as inflicted in particular on Satan. As a result of linking this motif with the cited passage of the Book of Revelation, the casting of Satan down from heaven, which other versions of the motif present as an action of God himself, has become attributed to the archangel Michael at the conclusion of a war between two groups of angels, of whom (because of the mention of the dragon's tail casting a third of the stars of heaven to the earth) one third are supposed to have been on the side of Satan, in spite of the fact that the casting down of the stars ( Revelation 12:4) is recounted as occurring before the start of the "war in heaven" ( Revelation 12:7). Burns, J. Patout (1988). "Augustine on the Origin and Progress of Evil". The Journal of Religious Ethics. 16 (1): 9–27. JSTOR 40015076. The movie has since its release encompassed a large cult following, and is also the last film Wong fully shot in his native Hong Kong before embarking on more ambitious international productions. [5] Plot [ edit ] Fallen Angels was released in September 1995, premiering at the 1995 Toronto International Film Festival, where it received considerable critical success [19] and became the focus of the festival for its notable visual style. [20] Houtman, Iberdina; Kadari, Tamar; Poorthuis, Marcel; Tohar, Vered (2016). Religious Stories in Transformation: Conflict, Revision and Reception. Leiden, Netherlands: Brill Publishers. p.66. ISBN 978-9-004-33481-6.The movie is composed of two plotlines that intersect throughout the films, especially when some of the characters happen to be in the same place at the same time, merging at the end of the film. Both stories take place in 1995 in British Hong Kong. Fallen Angels was released in September 1995. Upon release, film critics commented that its styles resembled those deployed in Chungking Express; many lamented that Wong had become self-indulgent, though as time went on critics began to be more appreciative of the film. At the 15th Hong Kong Film Awards in 1996, it won three awards: Best Supporting Actress for Mok, Best Cinematography for Doyle, and Best Original Score for Roel A. Garcia and Frankie Chan. Retrospectively, critics commented that though Fallen Angels was not as groundbreaking as its predecessor, it remained one of Wong's most captivating films, cementing his trademark styles. The film's abstract, unconventional style, the context in which it was made, and its use of pastiche and intertextuality with regards to both popular culture and its predecessor Chungking Express have led to the movie being described as a postmodern film and as suggesting a postmodern reading. Diana greatly loved her brother Lucifer, the god of the Sun and of the Moon, the god of Light (Splendor), who was so proud of his beauty, and who for his pride was driven from Paradise. [126] Revelation 12:4, through the metaphor of stars, indicates Satan swayed one-third of the angels of heaven to rebel against God. Since Lucifer's sin mainly consists of self-deification, some Gnostic sects identified Lucifer with the creator deity in the Old Testament. [108] In the Bogomil and Cathar text Gospel of the Secret Supper, Lucifer is a glorified angel but fell from heaven to establish his own kingdom and became the Demiurge who created the material world and trapped souls from heaven inside matter. Jesus descended to earth to free the captured souls. [109] [110] In contrast to mainstream Christianity, the cross was denounced as a symbol of Lucifer and his instrument in an attempt to kill Jesus. [111] Latter Day Saint movement [ edit ]