Part 1. Part 2. Part 3. Conclusions. Whilst this essay has attempted to be as detailed as possible in its readings of Valerie And Her Week Of Wonders, there’s little doubt that covering every aspect of the film would be an infinite task. Three aspects have been considered quite deliberately in order to show the strong musical framework in which the film is built upon but … Continue reading Valerie And Her Week Of Wonders (1970) – Duality Through Sound And Vision (Part 4).
I thought it would be last my time – The sense that, beyond the town, There would always be fields and farms, Where the village louts could climb Such trees as were not cut down; I knew there’d be false alarms – Going, Going, stanza 1 – Philip Larkin. Above is the opening stanza of Philip Larkin’s 1972 poem, Going, Going. The poem captures the … Continue reading Demise Of The Rural in Requiem For A Village (1976) And “Going, Going” (Philip Larkin).
One of the key criticisms of the Folk Horror Chain is its emphasis, both in argument and in evidence, upon the rural landscape and its various elements. While the key works of Folk Horror cinema seem to broadly use rural landscape aesthetics and practice to set and conjure their horror, by setting up such a parameter, it does indeed neglect some of the sub-genre’s most … Continue reading The “Urban Wyrd” In Folk Horror.
Part 1. Part 2. Belief And Ritual. The power of belief and its will in the distortion of reality is one of Valerie‘s more crucial cinematic aspects. This isn’t simply a belief in the sense of a religious doctrine and all of the aesthetics that accompany it, but the moral belief of the main character whose fantasies dictate the narrative ruptures within the film. However, … Continue reading Valerie And Her Week Of Wonders (1970) – Duality Through Sound and Vision (Part 3).
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.
Valerie And Her Week Of Wonders (1970) – Duality Through Sound and Vision. Jaromil Jireš’ Valerie And Her Week Of Wonders (1970) is a cornucopia of images and sound. Its vision is of a complex blossoming of sexuality amidst the visual and thematic realisations of a Freudian dreamscape, driven primarily by the lack of understanding and misinterpretation caused by social naivety. The narrative rarely ascends to … Continue reading Valerie And Her Week Of Wonders (1970) – Duality Through Sound and Vision (Part 1).
The following article contains plot twists. Hysteria and Nigel Kneale’s Baby. A very particular and often quoted segment from Freud’s summations of hysterical patients will be used here to begin the contextualisation our analysis. Whilst writing about the generalities surrounding such cases of hysteria and eventually compulsion neurosis, Freud came up with a short but rather useful sound-bite to describe every patient he had seen. … Continue reading Technological Hysteria in Nigel Kneale’s The Stone Tape (1972).
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.
Part 1. Part 2. Part 3. Part 4. Part 5. Part 6. Musical Anachronisms – Naturally and Overtly. “Let’s just say there aren’t many films set in the reign of William and Mary in which the devil rebuilds his body by harvesting the skin of children…” (Gatiss, 2010, BBC). To address the presence of musical anachronisms in films of all types is a tricky subject … Continue reading The Music of Folk Horror – Part 7 (Musical Anachronisms).
Part 1. Part 2. Part 3. Part 4. Part 5. Musical Avant-Garde and Overt Anachronisms in Blood on Satan’s Claw (1971). “I think the other thing that appealed to me was the rural setting. The nooks and crannies of woodland, the edges of fields the ploughing, the sense of soil was something I tried to bring into the picture” – Piers Haggard (Gatiss, 2010, BBC). … Continue reading The Music of Folk Horror – Part 6 (Blood on Satan’s Claw).