Louis Bayman is Associate Professor of Film Studies at the University of SouthamptonK. J. Donnelly is Professor of Film and Film Music at the University of Southampton

• Foreword by John DasIntroduction: what makes the folk horrific? – Louis Bayman and K.J. DonnellyPart I: Debating The Wicker Man (1973)1 The context of The Wicker Man – Ronald Hutton2 A deeply religious people: The Wicker Man, contemporary paganism, and Dracula reversed– Laurel Zwissler3 Folk horror: a discursive approach, with application to Robin Hardy’s The Wicker Man (1973) and Neil Jordan’s The Company of Wolves (1984) – Mikel J. KovenPart II: Return of the British repressed4 The folk of folk horror – Derek Johnston5 Doomwatch: sacrifice zones and folk horror – Dawn Keetley6 My ancestors died here: Requiem for a Village and the rural English horror of modernity and socio-cultural change – Paul Newland7 Outsider history, or outside of history – K. J. Donnelly8 Anglo creep and Celtic resistance in Apostle – Beth Carroll9 Women’s folk horror in Britain: history, industry, style – Amy HarrisPart III: Folk horror’s cultural landscapes10 Ritualistic rhythms: exploring the sensory effect of drums in British folk horror cinema – Lyndsay Townsend11 ‘Nature came before man’: human as subject and object within the folk horror anti-landscape – David Evans-Powell12 Hieroglyphics: Arthur Machen on screen – Mark Goodall13 Albion unearthed: social, political and cultural influences on British folk horror, urban wyrd and backwoods cinema – Andy Paciorek14 ‘Isn’t folk horror all horror?’: a wyrd genre – Diane A. RodgersIndex

'Folk Horror on Film... helps to fuel fiery if inconclusive arguments about the nature of folk horror amidst scholarly (stone?) circles.'Journal of British Cinema and Television'Thought-provoking collection, which proves that there is space for nation specific analysis which complements the growing transnational scholarship concerning the history and evolution of folk horror.'Keith McDonald, The Journal of Gods and Monsters'This is an interesting assortment of essays that push forward scholarly understandings of folk horror, offer newframeworks for conceptualizing this subgenre, and further highlight the value of cinema for the study of new and alternative religiosity.'Nova Religio