Salthouse Marshes began life in a strange way. Having chatted about adapting Algernon Blackwood’s The Willows with Robert Macfarlane (who had wanted to re-set it in England), there was always to be a “haunted waterway” film on the cards. But, after constant reading of the narrative of The Willows, the thought of organising the filming on two boats and on celluloid simply proved too intimidating. … Continue reading Short Film – Salthouse Marshes
With the ideas of the Folk Horror Chain starting to seem incomplete as the sub-genre grows in popularity and is more analysed, it’s about time further facets, themes, ideas and traits were added to the conversation. This will be the first in a number of pieces about other traits not accounted for or addressed in the initial idea of the chain (which itself was only … Continue reading The Ritual Of Craft In Folk Horror.
Part 1. Part 2. Part 3. Part 4. Part 5. Part 6. Part 7. Part 8. Conclusions. “If its central characteristics remained immune to change, the ghost story did keep pace with the times through progressive modernization of settings and language.” – Cox (xix, 1991). From analysis of the BBC Ghost Stories, it is clear that the narrative function of the supernatural has a natural … Continue reading The Aural Aesthetics Of Ghosts in BBC Ghost Stories – Part 9 (Conclusions).
Part 1. Part 2. Part 3. Part 4. Part 5. Human Interaction With The Landscape And Its Soundscape. “The wind was bitter from the north, but was at his back when he set out for the Globe. He quickly rattled and clashed through the shingle and gained the sand, upon which, but for the groynes which had to be got over every few yards, the … Continue reading The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 6 (Excavation).
Part 1. Part 2. Part 3. Part 4. Natural Diegesis And Aural Interaction With Landscape. One of M.R. James’ most recognisable writing traits is his emphasis on rural settings. From his own personal experience, of both exploring the churches of France on holiday bike-rides and living and holidaying in Suffolk and Norfolk, the rural landscape became almost as much of a story trope as the … Continue reading The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 5 (Landscape).
Part 1. The Aural-Thematic Ties In BBC Ghost Stories. “He first began to write the ghost stories for which he is now famous in late 1892 or early 1893 while he was a fellow of King’s. They were composed initially to be read aloud in his college rooms as a Christmas treat for his friends.”- Oliver (p.15, 2012). When looking at the source material for … Continue reading The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 2 (The Disembodied Voice).
Manifesting The Supernatural: The Aural Aesthetics Of Ghosts In BBC Ghost Stories. Introduction. “When Monty first began to write them, with the intention of inducing a pleasing terror in his listeners, he did so as an avid and discerning reader and connoisseur of the genre, keenly aware of his precedents and of the characteristics, objectives, and limitations of the ghost story as he understood the … Continue reading The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 1 (Introduction).
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” but there is a small batch of British horror films … Continue reading Films On The Strange British Coastline.
This article contains minor spoilers. It has taken a while for the traditional BBC ghost story to make a fully formed return in the 21st century. This is surprising considering the popularity of the return of other genre television traditions from Doctor Who to Battlestar Galactica, but the singular ghost story at Christmas has taken some time to get right. Before this recent M.R. James … Continue reading The Tractate Middoth – Mark Gatiss (BBC Ghost Story at Christmas).
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 in the British Gothic traditions of directors such as Jonathan … Continue reading Interview With Digby Rumsey (BFI Flipside, The Pledge).