Folk Horror: Hours Dreadful and Things Strange

At the time of writing this, my book on Folk Horror is a few weeks away from being printed.  By the time you read this, however, it should be available to buy.  I've written about the detail of the book earlier when it was due to be published late last year.  However, I wanted to … Continue reading Folk Horror: Hours Dreadful and Things Strange

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Folk Horror: Hours Dreadful and Things Strange (January, 2017)

As recently announced, I have a book being released in January all about Folk Horror and its many related areas of interest.  The book has been in the works for the last year or so though many of the arguments within have been growing now for several years.  Though I'll undoubtedly being doing the usual … Continue reading Folk Horror: Hours Dreadful and Things Strange (January, 2017)

The “English Eerie” and The Landscape Venn.

As I write this, it is just under two weeks to the Spectral Landscapes event in Oxford.  Put together between myself and the Oxford University's Romantic society through Jen Wood, the event is looking at the resurgence of interest in work across all forms of creative media which looks to the landscape in order to … Continue reading The “English Eerie” and The Landscape Venn.

Valerie And Her Week Of Wonders (1970) – Duality Through Sound and Vision (Part 1).

Valerie And Her Week Of Wonders (1970) - Duality Through Sound and Vision. Jaromil Jireš' Valerie And Her Week Of Wonders (1970) is a cornucopia of images and sound.  Its vision is of a complex blossoming of sexuality amidst the visual and thematic realisations of a Freudian dreamscape, driven primarily by the lack of understanding and … Continue reading Valerie And Her Week Of Wonders (1970) – Duality Through Sound and Vision (Part 1).

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

The Music of Folk Horror – Part 6 (Blood on Satan’s Claw).

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 … Continue reading The Music of Folk Horror – Part 6 (Blood on Satan’s Claw).

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

The Music of Folk Horror – Part 4 (The Wicker Man’s Narrative Functionality).

Part 1. Part 2. Part 3. Narrative Functionality. "Significantly, both for The Jazz Singer and the musical genre as a whole, much of the film's meaning is encoded in its music..." (Mundy, p.46, 1999). The music of The Wicker Man, while having few boundaries in terms of the effect of its various functions on its … Continue reading The Music of Folk Horror – Part 4 (The Wicker Man’s Narrative Functionality).