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Simon Bacon - Future Folk Horror, Inbunden

Inbunden, Engelska, 2023

Future Folk Horror

Contemporary Anxieties and Possible Futures

Av Simon Bacon

Del i serien Research in Horror Studies

1344 kr

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Beskrivning
Future Folk Horror: Contemporary Anxieties and Possible Futures analyzes folk horror by looking at its recent popularity in novels and films such as The Ritual (2011), The Witch (2015), and Candyman (2021). Countering traditional views of the genre as depictions of the monstrous, rural, and pagan past trying to consume the present, the contributors to this collection posit folk horror as being able to uniquely capture the anxieties of the twenty-first century, caused by an ongoing pandemic and the divisive populist politics that have arisen around it. Further, this book shows how, through its increasing intersections with other genres such as science fiction, the weird, and eco-criticism as seen in films and texts like The Zero Theorum (2013), The Witcher (2007–2021), and Annihilation (2018) as well as through its engagement with topics around climate change, racism, and identity politics, folk horror can point to other ways of being in the world and visions of possible futures.
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Simon Bacon is an independent scholar and film critic based in Poznan, Poland.

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The popularity of such films as The Witch (2015) and Midsommar (2019) signaled the arrival of an era of folk horror. This subgenre found its initial cinematic manifestation in the UK-produced Blood on Satan’s Claw (1971), Witchfinder General (1968), and The Wicker Man (1973). In his introduction to this collection editor Simon Bacon writes that these films feature a “location (landscape), which ... causes isolation ... produces a skewed moral or religious perspective, and ... ultimately leads to summoning or happening” (p. 2). Bacon realizes that such a definition is limiting and does not accurately reflect the current state of contemporary or even future folk horror, and he is not content to simply cobble together considerations of previously surveyed films. Rather he presses at the limits of what constitutes a scholarly volume. Along with the expected essays on canonical films, the reader will find a new short story reflective of the subgenre and haunting images termed “visual interventions” that bring an unexpected quality to the project. With essays on haunted attractions, The Witcher video game series, Spanish fairy tales, and regional horror cinema, this unique, noteworthy contribution to horror scholarship not only expands understanding of the subgenre, but also serves to direct the future of folk horror studies. Highly recommended. Upper-division undergraduates through faculty; professionals.

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