Films On The Strange British Coastline.

While many British films take full advantage of the rural potential that "this spectered isle" can provide, there seems to be another sub-sect to this branch film, often finding its way into British horror cinema.  Of course, this isn't as clear cut as simply analysing films under the guise of "Rural Horror" or "Folk Horror" … Continue reading Films On The Strange British Coastline.

Interview With Digby Rumsey (BFI Flipside, The Pledge).

Director Digby Rumsey sees his BFI DVD debut this month on the Flipside release of Leslie Megahey's Schalcken the Painter.  Rumsey is a traditional BFI director, coming from the same ranks as Terence Davies, Bill Douglas and Peter Greenaway.  His work in Gothic short films, especially adaptations of work by Lord Dunsany, places him firmly … Continue reading Interview With Digby Rumsey (BFI Flipside, The Pledge).

The Masque of the Red Death (1964) – Kierkegaard’s Aesthetic Phase and Inverted Freudian Pleasure Principle (Part 2).

Part 1. The Levels of the Aesthetic Stage Through Castle Rooms and Colour. Corman's beautiful excess of colour in the film has already been mentioned but colour plays a vital role within the film's narrative too.  Its narrative focus however does not chime well with the Kierkegaard reading when considering the unevenness and ambiguity as … Continue reading The Masque of the Red Death (1964) – Kierkegaard’s Aesthetic Phase and Inverted Freudian Pleasure Principle (Part 2).

The Wicker Man (1973) – Defining Of The Folk Horror.

Its geography is stark, rugged and eerily inviting, its characters are sickly happy and lying through their teeth and its narrative is immersive and questioning to the point where its finale is deeply affecting and horrifying. It's a crying shame that viewers of The Wicker Man (1973) will never fully see the film as its … Continue reading The Wicker Man (1973) – Defining Of The Folk Horror.