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The Medieval Haunting of Folk Horror

中世纪民间恐怖的困扰

基本信息

批准号：
2887380
负责人：
金额：
--
依托单位：
University of Bristol
依托单位国家：
英国
项目类别：
Studentship
财政年份：
2023
资助国家：
英国
起止时间：
2023 至无数据
项目状态：
未结题

来源：
https://gtr.ukri.org/projects?ref=studentship-2887380
关键词：
Medieval Haunting Folk Horror

项目摘要

"As this was a story about people subject to superstitions about living in the woods, the darkpoetry of that appealed to me. I was trying to make a folk-horror film, I suppose," said thedirector Piers Haggard of his film Witchfinder General (1968), in 2003.1 This is one of theearliest known coinages of the term "folk horror". But when and how does a cultural tradition offolk horror truly begin?Since 2003, Andy Paciorek's Folk Horror Revival project has widened the scope of folkhorror to serve as a critical approach to 20th and 21st century film, literature, art, television andmusic.2 And according to Adam Scovell, the cultural genre of folk horror comprises fouressential elements: landscape, isolation, skewed moral beliefs, and a happening or summoning.3But there is more to folk horror than this. Fundamentally, folk horror suggests a sense ofsomething ancient, dark and uncontrolled returning to haunt the rural landscape of the present. Italso presses on the tensions of community belonging and nonbelonging: in folk horror, a keycharacter is generally either someone who belongs inexorably to a place and is not permitted toleave, or they are an outsider who must be made to get out. Thus, folk horror operates within thebroad definition of horror given by Stephen King: "Perhaps more than anything else, the horrorstory or horror movie says it's okay to join the mob, to become the total tribal being, to destroythe outsider."

“这是一个关于人们在森林中生活的迷信故事，其中的黑暗诗意吸引了我。我想我是想拍一部民间恐怖电影，”导演皮尔斯·哈格德在 2003 年拍摄的电影《巫师将军》（1968 年）中说道。这是“民间恐怖”一词最早的造词之一。但民间恐怖的文化传统何时以及如何真正开始？自 2003 年以来，安迪·帕乔雷克的民间恐怖复兴项目扩大了民间恐怖的范围，使其成为 20 世纪和 21 世纪电影、文学、艺术、电视和音乐的批判性方法。2 根据 Adam Scovell 的说法，民间恐怖的文化类型包含四个基本要素：景观、孤立、扭曲的道德信仰和 3但民间恐怖的意义远不止于此。从根本上说，民间恐怖暗示着一种古老、黑暗、不受控制的东西重返当今乡村景观的感觉。它还加剧了社区归属感和非归属感的紧张关系：在民间恐怖中，关键人物通常要么是无情地属于某个地方且不被允许离开的人，要么是必须被迫离开的局外人。因此，民间恐怖在斯蒂芬·金给出的恐怖的广泛定义中运作：“也许恐怖故事或恐怖电影最重要的是表明，加入暴徒、成为完整的部落存在、消灭外来者是可以的。”