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Introduction

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A major output of the British Academy SRG project Transnational Horror, Folklore, and Cultural Politics, this volume proposes an alternative methodology for the study of transnational horror cinemas. Following an analysis of recent curatorial attempts to frame the contemporary revivals of folk horror in transnational settings (including All The Haunts Be Hours: A Compendium of Folk Horror [2021] and Woodlands Dark and Days Bewitched: A History of Folk Horror [2021]), this introduction focuses on the themed selection of film screenings, Mined Zone: Folk Horror, which the author curated for the International Istanbul Film Festival. Critically reflecting on the curatorial potential for (i) de-westernising film criticism and horror spectatorship, and (ii) facilitating cross-cultural mobility of non-Anglophone horror cinemas through an anti-canonising approach to horror-as-genre, this introduction provides a critical account of transnationalism as a way of understanding the contemporary revival of “folk horror” and its new meanings and affordances.
Liverpool University Press
Title: Introduction
Description:
A major output of the British Academy SRG project Transnational Horror, Folklore, and Cultural Politics, this volume proposes an alternative methodology for the study of transnational horror cinemas.
Following an analysis of recent curatorial attempts to frame the contemporary revivals of folk horror in transnational settings (including All The Haunts Be Hours: A Compendium of Folk Horror [2021] and Woodlands Dark and Days Bewitched: A History of Folk Horror [2021]), this introduction focuses on the themed selection of film screenings, Mined Zone: Folk Horror, which the author curated for the International Istanbul Film Festival.
Critically reflecting on the curatorial potential for (i) de-westernising film criticism and horror spectatorship, and (ii) facilitating cross-cultural mobility of non-Anglophone horror cinemas through an anti-canonising approach to horror-as-genre, this introduction provides a critical account of transnationalism as a way of understanding the contemporary revival of “folk horror” and its new meanings and affordances.

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