Questioning Nostalgia In Folk Horror.

As the Folk Horror canon expands into more forms of media and territory, the Folk Horror Chain becomes less useful as a tool for looking at thematic material.  This is partly due to it being derived as an idea from one medium and one that is explicitly narrative based.  Yet, some of its ideas can be loosely translated into the area of reception studies of … Continue reading Questioning Nostalgia In Folk Horror.

The Folk Horror Chain.

This article was originally a paper presented at Queens University Belfast at the first Folk Horror Conference on Friday the 19th of September 2014. Introduction/Thesis. Folk horror is a strange form of media.  It has a craving for the need to be defined and canonised whilst also being a sub-genre which seems inherently intuitive, especially when becoming aware of its common likenesses in films, television, … Continue reading The Folk Horror Chain.

The Music of Folk Horror – Part 8 (Conclusions).

Part 1. Part 2. Part 3. Part 4. Part 5. Part 6. Part 7. Conclusions From the analysis of only a handful of British folk horror films, it has been shown that they rely heavily on their music in order to achieve their full cinematic effect.  Altman states the following when discussing genre theory: “Constantly opposing cultural values to counter-culture values, genre films regularly depend on … Continue reading The Music of Folk Horror – Part 8 (Conclusions).

The Music of Folk Horror – Part 4 (The Wicker Man’s Narrative Functionality).

Part 1. Part 2. Part 3. Narrative Functionality. The music of The Wicker Man, while having few boundaries in terms of the effect of its various functions on its narrative content, is split into several different types.  For this section, the specific type of music to be looked at is the folk song; a form that makes several appearance in the film with original compositions … Continue reading The Music of Folk Horror – Part 4 (The Wicker Man’s Narrative Functionality).

The Music of Folk Horror – Part 3 (The Wicker Man’s Folk Aesthetics).

Part 1. Part 2. Tradition Through Folk Aesthetics in the Music of The Wicker Man (1973). The first case study film for this essay is Robin Hardy’s 1973 film, The Wicker Man.  Though it is the latest of the films to be looked at, it has the most complex relationship with its music, formed entirely of its own accord rather than on folk horror practices … Continue reading The Music of Folk Horror – Part 3 (The Wicker Man’s Folk Aesthetics).

The Music of Folk Horror – Part 2 (Folk Horror Chain and Witchfinder General).

Part 1. Thematic Material of the Folk Horror Chain. “Grendel was the name of this grim demon, haunting the marches, marauding round the heath and the desolate fens; he had dwelt for a time in misery among the banished monsters, Cain’s clan, whom the creator had outlawed and condemned as outcasts.” (Heaney, p.6, 1999). Though the historic and cultural factors around why folk horror was … Continue reading The Music of Folk Horror – Part 2 (Folk Horror Chain and Witchfinder General).