One of the key criticisms of theories surrounding the genre Folk Horror is its emphasis upon the rural landscape. How can a genre really encompass such rural horror films as Witchfinder General (1968) and The Wicker Man (1973) while also discussing more urban-set horrors such as Quatermass and the Pit (1967)? While key works of Folk Horror cinema seem to broadly focus on rural landscapes to set … Continue reading The Urban Wyrd
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).
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).
Celluloid Wicker Man 