The Music of Folk Horror – Part 8 (Conclusions).

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).

The Music of Folk Horror – Part 5 (The Wicker Man’s Diegesis).

Part 1. Part 2. Part 3. Part 4. Diegesis in The Wicker Man. Some of the music assessed in the last section raised further questions besides their thematic and narrative content.  Though this element was an important part of the analysis, another aspect almost appeared to be ignored; that of the diegesis of such performances.  For a horror film, The Wicker Man presents the viewer … Continue reading The Music of Folk Horror – Part 5 (The Wicker Man’s Diegesis).

The Music of Folk Horror – Part 2 (Folk Horror Chain and Witchfinder General).

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).