The Blood on Satan’s Claw is attentive to what Paul Newland has described as the “haptic materiality” of the soil and the way it is physically worked .
Land management is evident throughout the film. The landscape is defined by notions of ownership and control, as well as forming a topographical representation of the social hierarchy that ope…[Read more]

“A place retaining a trace of historical and cultural happening… can then allow for the slippages in time, the event and its topographical traces being the gateway that allows the past to exist within the present, often fantastically and sometimes horrifically.”
Adam Scovell – Folk Horror: Hours Dreadful and Things Strange – Auteur Publi…[Read more]

Nowhere in the urban landscape is folk horror’s encroachment into the civilised space more pronounced than in the subterranean realms of our underground transit systems.

These are familiar and everyday spaces, critical to the functions of urban space. They represent the ingenuity of civilisation, violently and intrusively reshaping i…[Read more]