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Journal articles on the topic 'Folk Horror'

Author: Grafiati

Published: 11 December 2022

Last updated: 25 July 2025

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1

Tolbert, Jeffrey A., and Dawn Keetley. "Folk horror: An introduction." Horror Studies 14, no. 2 (2023): 159–72. http://dx.doi.org/10.1386/host_00067_2.

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Our introduction to this Special Issue is premised on the fact that the rich critical work on folk horror has far from exhausted what can be (and needs to be) said about folk horror. There is a particular need for scholarship that extends its reach beyond Britain and for that which self-consciously interrogates, expands and complicates initial theoretical formulations of folk horror. There is a need, in short, for a ‘second wave’ of folk horror criticism that develops the first – that attends more specifically, for instance, to modes within folk horror (and folk horror as a mode), to the ways

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Wajda, Piotr. "Specters of postcolonialism in HBO’s Folklore." Panoptikum, no. 28 (December 29, 2022): 86–97. http://dx.doi.org/10.26881/pan.2022.28.05.

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This paper aims to present the Asian take on the folk horror subgenre. The author focuses on the HBO-produced anthology Folklore (2018–), which states the starting point for further analyses. Wajda starts by pointing to difficulties in defining ‚folk horror’ and its meaning for the development of global cinemas. The author describes and compares different approaches to this term and takes a closer look at relations between horror, its literary beginnings, and folk stories filled with grim and gruesome events. Concerning the above, Wajda observes that folk horror was primarily associated with B

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Le Couteur, Clair. "Voice and folk horror: The borders of the human." Horror Studies 14, no. 2 (2023): 233–47. http://dx.doi.org/10.1386/host_00072_1.

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This essay draws on insights from the study of trans-diegetic sound and Michel Chion’s theory of the acousmêtre to begin to explore how voice and vocalic sound function in a selection of folk horror works for screen, with a close focus on Zone Blanche (2017). Not only do folk horror works make for rich subjects for voice studies, but they have the potential to offer new theoretical insights to voice itself. Through what I identify as its genre-bound obsessions with vocal (dis)embodiment, trans-generational possession and (non)dualism, folk horror engages with vocalic rather than semantic aspec

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Hormigos Vaquero, Montserrat. "Terror forestal, folk horror y brujería." Brumal. Revista de investigación sobre lo Fantástico 11, no. 1 (2023): 189–209. http://dx.doi.org/10.5565/rev/brumal.901.

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El presente artículo se centra en el análisis de una parte del fantástico y del horror fílmico que se erige sobre lo que podríamos denominar terror vegetal. Estos filmes ponen en escena miedos primitivos y adaptativos y convierten el espacio forestal en un territorio simbólico y animista. Así ponemos el foco en el Folk Horror, subgénero en el que el fantástico vegetal ha medrado y ganado popularidad en el séptimo arte de las últimas décadas, donde el paisaje es un protagonista más de la trama, con unos actantes sometidos al aislamiento físico y mental, y donde se desata el componente sobrenatu

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Ancuta, Katarzyna. "From folklore to horror: The Medium as a case for Thai folk horror." Horror Studies 14, no. 2 (2023): 249–63. http://dx.doi.org/10.1386/host_00073_1.

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While folk horror has never been identified as exclusive to western cinema, most studies of the topic have so far been strongly aligned with western world-views, philosophies and methodologies. This makes it difficult to apply their findings to films made in non-Christian non-western countries, such as Thailand. This article discusses Banjong Pisanthanakun’s film Rang Song (The Medium) (2021) as a case in point to demonstrate how folk horror operates as a mode in Thai cinema. Building on the existing studies and modifying the current definitions of folk horror to apply them to the Thai cultura

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Luckhurst, Roger. "Folk horror: Revival or survival? A genealogy of a subgenre." Horror Studies 16, no. 1 (2025): 43–60. https://doi.org/10.1386/host_00090_1.

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This article explores one of the roots of the recent folk horror revival in the work of the Victorian anthropologist, Edward Tylor. Tylor’s ‘doctrine of survivals’ was about elements of pre-modern culture and belief persisting out of time into the modern world. It has been argued that this is one of the key sources for the folk horror narrative of modern outsiders venturing into pockets of pre-modern belief. The article excavates the insistent racialization of the ‘survival’ in Tylor’s work and explores whether the folk horror revival in recent years has fully explored this ambiguous inheritan

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Andres, Alberto. "Ghosts of Britain: a hauntological approach to the 21st century folk horror revival." REDEN. Revista Española de Estudios Norteamericanos 3, no. 1 (2021): 79–93. http://dx.doi.org/10.37536/reden.2021.3.1428.

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This article aims at investigating the emergence of the American folk horror revival of the 2010s, focusing on texts such as Ari Aster’s Midsommar (2019) or Robert Eggers’s The VVitch (2015). This survey of the folk horror revival will inevitably lead us to the genre’s past, particularly to the so-called Unholy Trinity, comprised by three films released in Great Britain during the late 1960s and early 1970s. This temporal and geographical dislocation will be situated against a larger background of cultural production, arguing that the appearance of the folk horror revival sheds some light on t

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8

Kobus, Aldona. "Do Be Afraid: Folk Horror, Monstrous Sacred and Divine Terror in The Silt Verses Podcast." Literatura Ludowa 69, no. 1-2 (2025): 125–39. https://doi.org/10.12775/ll.1-2.2025.007.

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The article analyzes contemporary folk horror podcast series The Silt Verses (2021–ongoing) in order to theorize how horror as a genre conveys the relationship with the sacred in contemporary culture, with the characteristics and functions of the sacred described by Roger Caillois in L’homme et le sacré. First, the article focuses on the folk horror aspect of the series, how it alters the sub-genre conventions and how it presents the monstrous sacred which leads to notion of “divine terror” or “sacred dread” and fear as a primordial response to the sacred and, therefore, the role of religious

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Uchoa, Fabio Raddi, and Laura Loguercio Cánepa. "TRILOGIA DE TERROR (1968): FOLK HORROR NA TRANSIÇÃO DO RURAL AO URBANO NO CINEMA BRASILEIRO." Estudos Históricos (Rio de Janeiro) 36, no. 78 (2023): 135–61. http://dx.doi.org/10.1590/s2178-149420230108.

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RESUMO Este trabalho tem por objetivo analisar e discutir o filme de horror brasileiro Trilogia de terror (1968), que reuniu três dos mais destacados diretores paulistas na época: José Mojica Marins, Ozualdo Candeias e Luís Sérgio Person. Para realizarmos nossa análise, articularemos os conceitos de folk horror (Scovel, 2017) a discussões específicas do cinema brasileiro, particularmente às tensões entre o rural e o urbano (Bernardet, 1980; Tolentino, 2001), para compreendermos aquilo que consideramos como um tensionamento entre tais instâncias em Trilogia de terror – observando-se a liminarid

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Ilott, Johnathan. "‘They raise demons and people die’: Gothic, Cosy Crime and National Identity in The Pale Horse (2020)." Gothic Studies 27, no. 1 (2025): 95–113. https://doi.org/10.3366/gothic.2025.0219.

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Upon its broadcast in 2020, many reviewers were dismissive of the BBC’s adaptation of Agatha Christie’s The Pale Horse (1961), citing the production’s inclusion of supernatural and occult elements as incongruous with the author’s work. Screenwriter Sarah Phelps has adapted five Christie novels for television, with all the productions dividing audiences and critics due to their deviations from the source materials. While The Pale Horse (1961) contains elements of folk horror and gothic, these elements are accentuated in the television mini-series and gradually dominate the novel’s rational crim

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Jiamrattanyoo, Arthit. "Singing Crimes, Rhyming News: Folksong Newsprints, Horror Sensibilities, and the Rise of Sensationalist Mass Media in Siam, 1920s–1940s." MANUSYA: Journal of Humanities 27, no. 1 (2024): 1–26. https://doi.org/10.1163/26659077-20242722.

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Abstract The proliferation of print media in early-twentieth-century Siam coincided with the rising popularity of folk vocal music. By the 1920s, certain styles of folk balladry were appropriated by urban writers for news reportage and sociopolitical criticism with doses of sensationalization. Published in periodicals and chapbooks, this popular literature was characterized by its versification of true crimes and its typical focus on the figure of the criminal or the ghost. My article examines this hybrid genre of news entertainment at the nexus of a modern structure of the horror experience,

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Doherty, Ryan Atticus. "The Devil’s Marriage: Folk Horror and the Merveilleux Louisianais." Literature 4, no. 1 (2023): 1–21. http://dx.doi.org/10.3390/literature4010001.

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At the beginning of his Creole opus The Grandissimes, George Washington Cable refers to Louisiana as “A land hung in mourning, darkened by gigantic cypresses, submerged; a land of reptiles, silence, shadow, decay”. This anti-pastoral view of Louisiana as an ecosystem of horrific nature and the very human melancholy it breeds is one that has persisted in popular American culture to the present day. However, the literature of Louisiana itself is marked by its creativity in blending elements of folktales, fairy tales, and local color. This paper proposes to examine the transhuman, or the transcen

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Belling, Catherine. "Volk horror and the revival of history in Suspiria." Horror Studies 14, no. 2 (2023): 219–31. http://dx.doi.org/10.1386/host_00071_1.

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The classification of films as folk horror runs into the usual problem (and fascination) of genre taxonomy, the fuzzy set, where many texts meet some criteria and hardly any fit completely. This article suggests that thinking about Dario Suspiria and the 2018 version, directed by Luca Guadagnino, might, even though both films may seem to lack key folk horror elements, provide insight into deeper spatial-temporal structures that animate the subgenre. The 2018 Suspiria is less a remake of Argento’s original than an excavation of its historical and geographical subtexts. The central dance work in

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Fyfe, Jordan Alice. "Folk Horror: New Global Pathways, Dawn Keetley and Ruth Heholt (eds) (2023)." Australasian Journal of Popular Culture 14, no. 1 (2025): 106–8. https://doi.org/10.1386/ajpc_00108_5.

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BLAŽEVIĆ, Vera. "CROATIAN AND MONTENEGRIN FOLKLORE HERITAGE AND LITERATURE IN CONTACT ~ Folk tales, legends and short stories about vampires ~." Lingua Montenegrina 8, no. 2 (2011): 201–30. https://doi.org/10.46584/lm.v8i2.244.

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The paper aims to show the basic characteristics of horror stories created by regional authors in the last decade of contemporary literature. Since the interpretation part of the work includes collections of short stories (Aleksandar Bečanović, Obsession, 2009, Davor Špišić, Ham Hooks, 2001) and short novels (Boris Perić, Vampire, 2006, Marko Mihalinec and Velimir Grgić, Crisis - Croatian horror, 2010), a theoretical approach to terminological and generic definition of short stories and its literary development in Croatia in the eighties is required, especially with regard to project Quorum ma

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Marini, Anna Marta. "Tracing dental horror in contemporary American cinema." Horror Studies 15, no. 1 (2024): 9–24. http://dx.doi.org/10.1386/host_00077_1.

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Horrific scenes of dental torture, as well as dental loss and decay, hold a viscerally disturbing quality. Focusing on human teeth – whether deciduous or permanent – I argue that dental horror has been pervasive in horror cinema, albeit seldom used as a central theme. In particular, American narratives touching upon teeth encompass meanings related to power and aesthetics, strongly connected to moral values and human integrity – and consequently to notions of decay, powerlessness and traumatic transformation. To foreground dental horror in American cinema, this article develops an original mod

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Yulia, V. VETOSHKINA, and K. GAVRILOV Lev. "Systematic film analysis of the films «The Witch» and «The Lighthouse» directed by Robert Eggers." Service plus 17, no. 2 (2023): 3–15. https://doi.org/10.5281/zenodo.8232307.

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The main subject of the research of this article is horror or horror films. The films of the American director and screenwriter Robert Eggers – «The Witch» (2015) and «The Lighthouse» (2019) were selected as the films under study. These films are recognized by the community of film critics and viewers, and have been awarded high awards. The horror or horror genre has been developing throughout the XX century and currently occupies a special place in modern culture. The interest in horror films lies not only in the fact that they have a strong impact on the viewer,

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Tuttle, Joshua B. "Folk Horror: Hours Dreadful and Things Strange. By Adam Scovell." Gothic Studies 22, no. 3 (2020): 344–46. http://dx.doi.org/10.3366/gothic.2020.0066.

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Rose, James. "Amongst the bramble and the bones: An interview with T. C. Eglington and Simon Davis." Studies in Comics 13, no. 1 (2022): 131–43. http://dx.doi.org/10.1386/stic_00073_7.

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An interview with the writer T. C. Eglington and artist Simon Davis about their horror comic Thistlebone. Serialized in the British comic 2000AD from June to August 2019, the interview takes folk horror as its focus to explore the symbolic nature of the comic’s imagery, the importance of the British landscape to the narrative, alongside the subtle psychogeographic dimensions of this landscape that the myth of Thistlebone generates.

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Kantaris, Geoffrey. "Genocide and the Plague of Fantasies in La Llorona and Sueño en otro idioma." Journal of Foreign Languages and Cultures 8, no. 2 (2024): 73–90. https://doi.org/10.53397/hunnu.jflc.202402007.

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This paper examines how two contemporary Latin American films—Jayro Bustamante’s La Llorona and Ernesto Contreras’s Sueño en otro idioma—engage with physical and cultural genocide through distinct deployments of fantasy elements that reflect the evolution of horror and magic-realist genres in Latin American cinema. The films repurpose fantastical elements through horror and mythopoetic narrative in order to confront the legacies of colonial trauma. Building on Slavoj Žižek’s concept of the plague of fantasies, the paper examines how La Llorona mobilizes the Mesoamerican folk figure of La Lloro

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Mateu, Fran. "La representación del terror rural en las artes audiovisuales." Área Abierta 24, no. 2 (2024): 73–88. http://dx.doi.org/10.5209/arab.95387.

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El presente estudio ofrece un estado de la cuestión de la representación del terror rural o Folk Horror dentro de las artes audiovisuales, poniendo el foco en el medio cinematográfico, aunque sin dejar de lado otros modelos audiovisuales de representación más contemporáneos, como es el caso de los videojuegos. Para ello, se ha llevado a cabo un análisis diacrónico y eminentemente cualitativo de este fenómeno narrativo y estético, que responde a un subgénero dentro del terror compuesto por una serie de rasgos definitorios y a la vez complejos. Como metodología empleada, se ha aplicado la revisi

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Kulikova, Daria L. "MYTHOPOETICS OF THE CEMETERY SPACE IN HORROR FICTION (Based on the Material of Modern Russian Literature)." Вестник Пермского университета. Российская и зарубежная филология 13, no. 3 (2021): 86–93. http://dx.doi.org/10.17072/2073-6681-2021-3-86-93.

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This article deals with the locus of the cemetery in modern Russian horror. We examine approaches to the depiction of scary spaces in literature, describe the cemetery as a locus of horror, study the motives associated with the cemetery in horror, detect intermedial connections, provide interpretation of folklore and literary references. The cemetery is one of the key loci of folk culture, presented in folklore as a space of contact with the otherworldly (with the world of the dead), which explains the interest of horror authors in these ‘scary’ places. The modern literature of horror offers m

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Tyree, J. M. "Specters of Brexit in Recent British Horror." Film Quarterly 77, no. 2 (2023): 10–19. http://dx.doi.org/10.1525/fq.2023.77.2.10.

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This article considers a new series of uncanny films by UK filmmakers for their connections with the classics of the “folk horror” series of the 1970s and for their implicit commentary on ecology, gender, and postcolonialism in the post-Brexit context. Critical attention focuses primarily on two films—Mark Jenkin’s Enys Men (2022) and Joanna Hogg’s The Eternal Daughter (2022)—with secondary emphasis on a new “cycle” or “mini-wave” of folklore-inflected horror films set in liminal British spaces, including Ben Wheatley’s In the Earth (2021), Charlotte Colbert’s She Will (2021), Lee Haven Jones’

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Izharuddin, Alicia. "The laugh of the pontianak: darkness and feminism in Malay folk horror." Feminist Media Studies 20, no. 7 (2019): 999–1012. http://dx.doi.org/10.1080/14680777.2019.1681488.

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Pecina, Jozef. "The Hillbilly Stereotype in Horror Comics." Ars Aeterna 15, no. 2 (2023): 22–31. http://dx.doi.org/10.2478/aa-2023-0008.

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Abstract From William Byrd’s 18th-century “lubbers” of the North Carolina backcountry through the deviant gun-toting hicks with missing teeth from John Boorman’s survival thriller Deliverance (1972) to Darlene Snell from Netflix’s recent crime drama series Ozark (2016), the stereotype of the “hillbilly” has been one of the most pervasive images in American popular culture. This image has been usually associated with mountaineers inhabiting either the Appalachians or the Ozarks, and it has portrayed them as dirty, lazy, ignorant, often mean, violent and dangerous. Since the beginning of the 20t

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Vasilev, Mikhail Fedorovich. "Fairies as horror characters (based on the novels of R. Feist and R. Campbell)." Philology. Theory & Practice 18, no. 2 (2025): 547–52. https://doi.org/10.30853/phil20250079.

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The aim of this study is to demonstrate that fairies, characters of British lower mythology, despite their strong association with children's fairy tales, can not only potentially be characters in horror works but also do successfully function in this capacity. This is illustrated by the horror novels "Faerie Tale" (1988) by R. Feist and "The Kind Folk" (2012) by R. Campbell. The scientific novelty of the article lies in presenting folklore motifs associated with fairies as horror tropes, using data from works of fiction that have not previously been covered in domestic scholarship. As a resul

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Chambers, Jamie. "Troubling Folk Horror: Exoticism, Metonymy, and Solipsism in the "Unholy Trinity" and Beyond." JCMS: Journal of Cinema and Media Studies 61, no. 2 (2022): 9–34. http://dx.doi.org/10.1353/cj.2022.0014.

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Kosonen, Heidi. "Rituaalikuolema ja perhetragedia." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 2-3 (2021): 23–41. http://dx.doi.org/10.23994/lk.111159.

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Elokuvissa ja erityisesti angloamerikkalaisissa elokuvissa kuvataan itsemurhaa usein. Niiden representaatiot heijastelevat kulttuurisia käsityksiä itsemurhasta, mutta myös itsenäisesti vaikuttavat käsitysten syntymiseen. Tässä artikkelissa tarkastelen Ari Asterin folk-kauhugenreä edustavaa elokuvaa Midsommar – loputon yö (2019). Elokuvassa sisarensa tekemää murha-itsemurhaa sureva Dani matkustaa Yhdysvalloista Ruotsiin fiktiiviseen Hårga-kommuuniin poikaystävänsä ja tämän ystävien kanssa. Hårgalainen juhannusrituaali paljastaa eroja amerikkalaisen ja hårgalaisen kulttuurin välillä muun muassa

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Myers, Joshua. "Phantasmal ruralism: A terror of folk ecology in Washington Irving’s ‘The Legend of Sleepy Hollow’." Horror Studies 14, no. 2 (2023): 173–83. http://dx.doi.org/10.1386/host_00068_1.

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This article considers Washington Irving’s ‘The Legend of Sleepy Hollow’ as a work of nineteenth-century American folk horror for how the story’s depiction of nature suggests provincial people as an especially fearful collective entity. With additional consideration of Tim Burton’s film adaptation, Sleepy Hollow (1999), this article provides an ecocritical analysis of the tale’s landscapes and objects to assert that supernatural belief is manufactured partly by the idea of rural existence as physically and culturally separate from urban areas. Moreover, the article illustrates how reading the

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Ibrahim, Mahesa. "Peran Sinematografi dalam Indoktrinasi pada Film Midsommar." DIVAGATRA - Jurnal Penelitian Mahasiswa Desain 3, no. 1 (2023): 1–14. http://dx.doi.org/10.34010/divagatra.v3i1.9434.

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The movie of Midsommar (2019) tells a story about a grief-stricken and lonely young woman, Dani Ardor, who was horrified by the sadistic tradition of The Hårga but eventually becomes part of the commune. It is a fairy tale where at some point the Big Bad Wolf convinced Little Red Riding Hood that happily-ever-after can be found in his sharp teeth. This movie is often classified as “elevated horror”, “folk horror”, and even a sadistic breakup movie. At the same time, this movie is also tells a story about indoctrination carried by a group whose strategy is also used by the writer-director, Ari

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Roig, Pau. "«Plant Horror». Algunas consideraciones sobre el «cine fantástico vegetal»." Brumal. Revista de investigación sobre lo Fantástico 12, no. 1 (2024): 199–219. http://dx.doi.org/10.5565/rev/brumal.957.

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Este artículo propone una panorámica a la vez histórica y teórica sobre la representación que lo vegetal ha tenido en el cine fantástico y en otros géneros y categorías afines, como la ficción científica o el llamado «Folk Horror», constatando que en las propuestas englobadas por lo general en la denominación de terror ecológico los elementos vegetales han tenido un protagonismo menor que los animales y los insectos. La visualización de la Naturaleza como un todo de connotaciones casi divinas en la que todos sus integrantes actúan al unísono para protegerse de agresiones externas ha sido repre

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Baran, Stacey Anh. "‘Once upon a Midsommar…’: Nature, nationalism and the Swedish folkloresque." Horror Studies 14, no. 2 (2023): 205–17. http://dx.doi.org/10.1386/host_00070_1.

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This article examines Ari folk horror film, Midsommar, in the context of Swedish ethnonationalist ideologies and their connections to environmental and cultural preservation. Reading the film through Michael Dylan Foster and Jeffrey A. Tolbert’s concept of the folkloresque, I draw correlations between its structural, fairy tale framing and manipulation of folkloric imagery in order to interrogate its deliberate representations of cultural and historical inauthenticity. Further, this article analyses Midsommar’s transnational milieu and its narrative emphasis on the ambiguous traditions and rit

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Malvestio, Marco. "En la corte del Dios Blanco: folclore digital y gótico global en Mandíbula." Brumal. Revista de investigación sobre lo Fantástico 10, no. 1 (2022): 99–118. http://dx.doi.org/10.5565/rev/brumal.844.

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Este artículo cuestiona la posible presencia del folclore local en una época de folclore globalizado. A partir de las categorías críticas aportadas por los estudios góticos y los recientes debates sobre el folk horror, este artículo estudia el uso de los creepypasta (relatos de terror producidos y difundidos en internet que constituyen un ejemplo de folclore digital) en la novela Mandíbula (2018) de Mónica Ojeda. Al analizar la novela de Ojeda, pretendo demostrar cómo la adopción masiva de referencias folclóricas digitales sirve para desafiar las ansias de globalización y la desterritorializac

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Beadle, Joseph J. L. "Of Horror Games and Temples: Religious Gamification in Contemporary Taiwan." British Journal of Chinese Studies 12, no. 2 (2022): 11–45. http://dx.doi.org/10.51661/bjocs.v12i2.189.

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This article examines the intersection of Taiwanese horror videogame Devotion (2019) and folk religious ritual guanluoyin 觀落陰 (descent into the netherworld) as a new window into the symbiotic evolution of religion and gaming technology. It traces the curious trend whereby Taiwanese gamers, after encountering guanluoyin while playing Devotion, went to offline, physical guanluoyin temples to ‘play’ the ritual for themselves, and playfully invoked Devotion’s intra-game religious narrative in their extra-game lives. Devotion thus activated a dynamic community of gamers who, hungry for horror, prod

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Walsh, Brendan C. "Folk Horror on Film: Return of the British Repressed ed. by Louis Bayman, K. J. Donnelly (review)." Magic, Ritual, and Witchcraft 18, no. 3 (2023): 473–75. http://dx.doi.org/10.1353/mrw.2023.a930902.

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Pope, Caroline. "Smith, Alan G., Robert Edgar and John Marland. Thomas Hardy and the Folk Horror Tradition." Forum for Modern Language Studies 60, no. 4 (2024): 515. https://doi.org/10.1093/fmls/cqae081.

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Rodgers, Diane A. "Monstrous Megaliths: Ancient Stones in Folk Horror Film and Television – Showing, Telling and Making On-Screen Folklore." Journal of British Cinema and Television 22, no. 3 (2025): 364–86. https://doi.org/10.3366/jbctv.2025.0777.

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Ancient stones and their surrounding landscape provide a source of enduring fascination for audiences, writers and directors. Piers Haggard, a director who has worked on folk horror, remarked, ‘stone circles are wonderfully interesting, because they work on your imagination about … sacrifice, moonrise, sunrise, festivals’, and Ben Wheatley notes that, living in the UK, ‘you can walk ten miles from wherever you are and find an ancient monument’. This article combines screen analysis with the folklore studies notion of mass-mediated ostension to examine how folklore and contemporary legends abou

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Riley, John A. "Folk Horror: Hours Dreadful and Things Strange. Edited by AdamScovell. Auteur (Columbia UP), 2017. 215 pp. $25.00 paperback." Journal of Popular Culture 51, no. 4 (2018): 1080–82. http://dx.doi.org/10.1111/jpcu.12695.

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Pratt, Vic. "Louis Bayman and K. J. Donnelly (editors), Folk Horror on Film: Return of the British Repressed." Journal of British Cinema and Television 21, no. 2 (2024): 277–79. http://dx.doi.org/10.3366/jbctv.2024.0718.

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Pelagia, Bojko. "Wierzenia ukraińskie w Zamku kaniowskim Seweryna Goszczyńskiego." Świat i Słowo 30, no. 1 (2019): 95–109. https://doi.org/10.5281/zenodo.2562710.

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Work of Goszczyński is a work with a characteristic of romanticism “night aura” characteristic of Romanticism, which is discussed by many researchers. The sketch about Ukrainian beliefs is an attempt to look at Goszczyński’s work through the prism of folk beliefs. These beliefs do not affect the creation of the presented world, but it seems that they determine the way of perceiving it, orient the understanding of the elements of this world and drive the machine growing in the work of horror. They also do not allow the characters of the sacred sphere to appear even in the cons

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Prorok, Katarzyna. ""Wziął braciszek strzelbiczkę, trafił myśliweczka w główeczkę…" O (nie)konwencjonalnych użyciach zdrobnień w polskich pieśniach ludowych." LingVaria 13, no. 25 (2018): 163–78. http://dx.doi.org/10.12797/lv.13.2017.25.12.

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Wziął braciszek strzelbiczkę, trafił myśliweczka w główeczkę… On (Un)conventional Uses of Diminutives in Polish Folk SongsThe paper attempts to specify the function of diminutives in folk songs, and to find to what degree they can be considered a reliable source in the reconstruction of the linguistic image of the world. The starting point are the findings of Jerzy Bartmiński who distinguished five main functions of diminutives in folk songs: intellectual (communicating smallness), emotional (communicating endearment), rhythm-creating, rhyme-creating, and structural-poetic (signalling the styl

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Minaya Gómez, Francisco Javier. "The Lexical Domains of Ugliness and Aesthetic Horror in the Old English Formulaic Style." Atlantis. Journal of the Spanish Association for Anglo-American Studies 45, no. 1 (2023): 147–67. http://dx.doi.org/10.28914/atlantis-2023-45.1.09.

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Even though as of late there has been a renewed interest in the aesthetic ideals in early Medieval England, the conceptualisation and experience of ugliness in Old English sources has been largely neglected. Drawing on the recent research carried out on aesthetic emotions and folk aesthetics, and despite the lack of academic materials on artistic and literary canons of ugliness, the purpose of this paper is to look into the terms that rendered the experience of ugliness and its closest emotional response, aesthetic horror, in order to examine how these are employed in poetic texts. The finding

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Subari, Nira Radita, and Bimo Prakoso. "The Implementation of A* Algorithm for Developing Non-Player Characteristics of Enemy in A Video Game Adopted from Javanese Folklore "Golden Orange"." Teknika 13, no. 2 (2024): 164–74. http://dx.doi.org/10.34148/teknika.v13i2.799.

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Video games are a means of entertainment for everyone, from children to adults. The genre of games now is also very diverse, ranging from adventure, puzzles to storytelling, and even many folk stories have been made into video games by several developers in Indonesia. Starting from folk tales with horror themes such as kuntilanak, legends such as cucumber mas, to folk tales that rarely sound like golden oranges. The folklore video game of buah jeruk emas is a video game that tells of a king who gets a whisper from the gods to get golden oranges. The king then held a competition to get the gold

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Medojevic, Milena. "The Vampire as the Mythological Creature in the Cinematography of South Slavic Countries: Vampire in Films “Leptirica” and “Holy Place” - Folkloric Juxtaposition." Különleges Bánásmód - Interdiszciplináris folyóirat 10, Special Issue (2024): 83–96. http://dx.doi.org/10.18458/kb.2024.si.83.

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Mythological creatures have enchanted and intrigued human beings for ages, and humans unconsciously stimulated their fears and insecurities. People have created a vampire-paranormal obsession that is reflected in everything that human creativity has touched, especially in film adaptations. In this article, readers will see the representation of the mythological creature Vampire on the Serbian film screen. The article dissects two selected films, “She-Butterfly” and “The Holy Place” from the vampire-induced horrors of the South Slavic cinematography. They will representatively be the focus of t

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Darby, Paul, and Niall Finneran. "Spectral Nation: Characterizing British Haunted Landscapes through the Lens of the 1970s ‘Ghost Gazetteer’ and a Folk Horror Perspective." Folklore 133, no. 3 (2022): 311–33. http://dx.doi.org/10.1080/0015587x.2021.2000174.

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Rusnak, Iryna. "Chumack Folklore about the Plague (Based on the Records of the Ethnographic Commission at the VUAN." LITERARY PROCESS: methodology, names, trends, no. 25 (2025): 92–97. https://doi.org/10.28925/2412-2475.2025.25.8.

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The relevance of the article lies in the fact that for the first time the author analysed folk stories about the plague recorded during the expeditions of the Ethnographic Commission at the Ukrainian Academy of Sciences (UAAS). The author set out to comprehend the attitude of the Chumacks and their families to the dangerous disease; to analyse how the narratives constructed the social experience of the Chumack environment (building a picture of the plague, forming ideas about the “correct” behaviour when a person encounters the plague, transmitting knowledge about ways to prevent the disease,

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Ługowska, Jolanta. "Fairy Tale Motifs in the Slavic Universe of Marta Krajewska." Literatura Ludowa 67, no. 1-2 (2023): 65–76. http://dx.doi.org/10.12775/ll.1.2023.005.

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Marta Krajewska’s series of novels forming the so-called Slavic universe (Idź i czekaj mrozów, 2016, Zaszyj oczy wilkom, 2017 Wezwijcie moje dzieci, 2021) is characterized by noticeable generic syncretism, with fairy tales playing an important role in the construction of the presented world. In her trilogy, the author draws on the most popular, universal fairy tale motifs recorded in international catalogues as well as in Polska bajka ludowa w układzie systematycznym (The Systematic Catalogue of the Polish Folk Tale) by Julian Krzyżanowski, using as the basis of her own story. Krajewska applie

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Blanc, Paul Le. "Rosa Luxemburg and the Heart of Darkness." New Formations 94, no. 94 (2018): 122–41. http://dx.doi.org/10.3898/newf:94.08.2018.

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'Imperialism', Rosa Luxemburg tells us, 'is the political expression of the process of the accumulation of capital in its competitive struggle over the unspoiled remainder of the noncapitalist world environment'. The realities analysed by this outstanding socialist revolutionary have also found significant reflection in classic writings of such literary icons as Herman Melville, Joseph Conrad, Mark Twain, Rudyard Kipling and George Orwell. Conrad's racist conceptualisation in The Heart of Darkness shows us an idealistic imperialist, Kurtz, whose last words - 'the horror' - can be understood in

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Rakhno, Kostyantyn. "Viy in Nikolai Gogol’s Novella and Related Mythological Creatures in Ukrainian Folklore." Religions 15, no. 1 (2023): 33. http://dx.doi.org/10.3390/rel15010033.

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This article examines Ukrainian folkloric parallels to Viy, a character in the horror novella of the same name by Nikolai Gogol. It is a formidable chthonic, demonic creature whose eyelids cover the eyes and need to be lifted, and the gaze sees what is hidden from others. Although the writer claimed that this character, like the entire plot of the story, was taken from Ukrainian folklore, some modern researchers claim that Viy is the author’s own invention. This is contradicted by folkloric data, primarily Ukrainian lore. Demonic characters with different names but with the same appearance and

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Frolova, Marina V. "Pocong: Contemporary Zombie Stories in Indonesia." Studia Litterarum 6, no. 1 (2021): 354–69. http://dx.doi.org/10.22455/2500-4247-2021-6-1-354-369.

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The paper about the Indonesian “zombie” pocong examines specific features of the ghost stories in Indonesia, tracks the etymology of the words hantu (“ghost,” “undead”) and pocong (“wrapped in shroud”), and includes a translation of a typical ghost story (“Pocong and a Cart Hawker”). It introduces the hitherto understudied material in Russia that counts only a small number of Indonesian and Anglophone works. The aims of this paper include collecting data about this mythological creature from Indonesian sources, studying the image of pocong and contemporary narratives about him, searching his c

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