The Folk Horror Chain The following is a rough transcript of a paper delivered at the A Fiend in the Furrows conference, held at Queens University, Belfast on the 20th of September, 2014. Introduction Folk horror is a strange form of media. There’s an unusual craving for defining and canonising in spite of being a sub-genre which seems inherently intuitive. This unusual combination of shared thematic … 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).
Mythological Introduction by Philip Larkin. A white girl lay on the grass With her arms held out for love; her goldbrown hair fell down her face, And her two lips move: See, I am the whitest cloud that strays Through a deep sky: I am your senses’ crossroads, where the four seasons lie. She rose up in the middle of the lawn And spread her … Continue reading Village Green Repression in Film, Television and Philip Larkin.
Celluloid Wicker Man 