This chapter looks at the characteristics of, and relationship between, the three environments depicted within the film: the forest wilderness; London as represented by the short scene in the Judge’s house; and the cultivated and inhabited spaces of the village. This chapter considers the tension in the film between the primitive, regressive nature wilderness and the civilised and progressive (yet overbearing and tyrannical) London. It examines historical and cultural attitudes to the cultivated, uncultivated and occupied spaces, drawing in discussions on Classical and Romantic approaches to the landscape as well as points made by Paul Newland. It explores the village as a liminal space in which the characteristics of both the natural wilderness and the civilised urban space can be seen. The village space is put into its historical context as an environment subject to contentious changes to the form, function and ownership of the landscape.
{"title":"Nature and Civilisation","authors":"David Evans-Powell","doi":"10.2307/j.ctv1hqdjqx.7","DOIUrl":"https://doi.org/10.2307/j.ctv1hqdjqx.7","url":null,"abstract":"This chapter looks at the characteristics of, and relationship between, the three environments depicted within the film: the forest wilderness; London as represented by the short scene in the Judge’s house; and the cultivated and inhabited spaces of the village. This chapter considers the tension in the film between the primitive, regressive nature wilderness and the civilised and progressive (yet overbearing and tyrannical) London. It examines historical and cultural attitudes to the cultivated, uncultivated and occupied spaces, drawing in discussions on Classical and Romantic approaches to the landscape as well as points made by Paul Newland. It explores the village as a liminal space in which the characteristics of both the natural wilderness and the civilised urban space can be seen. The village space is put into its historical context as an environment subject to contentious changes to the form, function and ownership of the landscape.","PeriodicalId":340779,"journal":{"name":"The Blood on Satan's Claw","volume":"134 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116344037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter will assess the relationship between order and disorder in the film through a detailed examination of the key authority figures: the Judge, the Squire, the Curate, and the Doctor. The figure of the Judge receives particular attention as a contentious and problematic figure. In considering these authority figures, the chapter will develop a reading of the film as playing out the tensions of the 18th Century setting as Britain moved from an age of superstition into an Enlightenment age of reason. The chapter will explore the film as an example of, what Andrew Tudor has called, a paranoid horror narrative, and a contrast will be made with examples of secure horror narratives. This chapter will consider how this paranoia is expressed through the fundamental flaws, limitations and weaknesses of these authority figures.
{"title":"Agents of Order","authors":"David Evans-Powell","doi":"10.2307/j.ctv1hqdjqx.9","DOIUrl":"https://doi.org/10.2307/j.ctv1hqdjqx.9","url":null,"abstract":"This chapter will assess the relationship between order and disorder in the film through a detailed examination of the key authority figures: the Judge, the Squire, the Curate, and the Doctor. The figure of the Judge receives particular attention as a contentious and problematic figure. In considering these authority figures, the chapter will develop a reading of the film as playing out the tensions of the 18th Century setting as Britain moved from an age of superstition into an Enlightenment age of reason. The chapter will explore the film as an example of, what Andrew Tudor has called, a paranoid horror narrative, and a contrast will be made with examples of secure horror narratives. This chapter will consider how this paranoia is expressed through the fundamental flaws, limitations and weaknesses of these authority figures.","PeriodicalId":340779,"journal":{"name":"The Blood on Satan's Claw","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116495318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-31DOI: 10.3828/liverpool/9781800348349.003.0008
David Evans-Powell
This chapter will contextualise the film within the time of its production and release and consider how its themes and focuses are as much as product of their time as there are of the early 18th Century. This chapter will explore how the film mediates British seventies cultural anxieties around the counterculture and youth movements. It will consider how this cultural zeitgeist has affected the film’s nihilistic tone and ambiguous ending, as well as the depiction of the children and the authority characters in the film. This chapter will include a close analysis of the influence of two specific cases on the film’s development and that had been identified as especially influential by writer Robert Wynne-Simmons: the Tate-LaBianca murders and Mary Bell. The chapter will conclude with a consideration of the film as part of a revival of interests in British folk and vernacular heritage in the sixties and seventies.
{"title":"Anarchy in the UK","authors":"David Evans-Powell","doi":"10.3828/liverpool/9781800348349.003.0008","DOIUrl":"https://doi.org/10.3828/liverpool/9781800348349.003.0008","url":null,"abstract":"This chapter will contextualise the film within the time of its production and release and consider how its themes and focuses are as much as product of their time as there are of the early 18th Century. This chapter will explore how the film mediates British seventies cultural anxieties around the counterculture and youth movements. It will consider how this cultural zeitgeist has affected the film’s nihilistic tone and ambiguous ending, as well as the depiction of the children and the authority characters in the film. This chapter will include a close analysis of the influence of two specific cases on the film’s development and that had been identified as especially influential by writer Robert Wynne-Simmons: the Tate-LaBianca murders and Mary Bell. The chapter will conclude with a consideration of the film as part of a revival of interests in British folk and vernacular heritage in the sixties and seventies.","PeriodicalId":340779,"journal":{"name":"The Blood on Satan's Claw","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127617192","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter will examine the relationship between the past and the present within the film through a close assessment of the behaviour of the fiend, in particular the relationship between the fiend and the landscape. The chapter will consider the historical and cultural attitudes towards cultural memory and the remembrance or forgetting of unwelcome aspects of the past. The chapter will also place the film into its contemporary screen context through a survey of other British screen texts concerned with malign revenants that upset the present when unearthed or discovered. The chapter will continue by considering the nature of the fiend and the consequences of its influence through a detailed examination of the character of Angel Blake and the abject. The chapter will also make a close study of the influence of Margaret Murray’s The Witch-Cult in Western Europe on the film.
{"title":"The Fiend and its Followers","authors":"David Evans-Powell","doi":"10.2307/j.ctv1hqdjqx.8","DOIUrl":"https://doi.org/10.2307/j.ctv1hqdjqx.8","url":null,"abstract":"This chapter will examine the relationship between the past and the present within the film through a close assessment of the behaviour of the fiend, in particular the relationship between the fiend and the landscape. The chapter will consider the historical and cultural attitudes towards cultural memory and the remembrance or forgetting of unwelcome aspects of the past. The chapter will also place the film into its contemporary screen context through a survey of other British screen texts concerned with malign revenants that upset the present when unearthed or discovered. The chapter will continue by considering the nature of the fiend and the consequences of its influence through a detailed examination of the character of Angel Blake and the abject. The chapter will also make a close study of the influence of Margaret Murray’s The Witch-Cult in Western Europe on the film.","PeriodicalId":340779,"journal":{"name":"The Blood on Satan's Claw","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116863533","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter outlines the film’s production, release and reception. It includes brief biographies for the key creatives (Piers Haggard, director; Robert Wynne-Simmons, writer; Marc Wilkinson, composer; Dick Bush, Director of Photography), a detailed history on the film’s inception and production, an account of the film’s release and its immediate reception, and a summary of its home release and its emergent cult status. This chapter concludes with a consideration of the film’s locations, the time setting for the film (an approximate early 18th Century) and a short discussion on the influence of Ingmar Bergman’s films on Satan’s Claw’s aesthetic and themes.
{"title":"Production and Reception","authors":"David Evans-Powell","doi":"10.2307/j.ctt20ks1sb.9","DOIUrl":"https://doi.org/10.2307/j.ctt20ks1sb.9","url":null,"abstract":"This chapter outlines the film’s production, release and reception. It includes brief biographies for the key creatives (Piers Haggard, director; Robert Wynne-Simmons, writer; Marc Wilkinson, composer; Dick Bush, Director of Photography), a detailed history on the film’s inception and production, an account of the film’s release and its immediate reception, and a summary of its home release and its emergent cult status. This chapter concludes with a consideration of the film’s locations, the time setting for the film (an approximate early 18th Century) and a short discussion on the influence of Ingmar Bergman’s films on Satan’s Claw’s aesthetic and themes.","PeriodicalId":340779,"journal":{"name":"The Blood on Satan's Claw","volume":"91 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126972130","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter considers how the landscape is depicted in The Blood on Satan’s Claw. In examining the depiction of the rural landscape, the film’s pre-credits and opening sequences receive particular scrutiny. The chapter explores the countryside within the film through a number of different lenses: as a worked, agricultural landscape that is markedly different from those seen in Hammer’s gothic horror films; as a pastoral landscape that appreciates the beauty inherent in a stark and unsentimentalised topography as a variant on the richer and more sumptuous landscapes of heritage cinema; as an uncanny landscape that diminishes human presence and in doing so becomes an unfamiliar, disquieting environment; as a malign landscape that is actively hostile to those who dwell within it; and as a landscape that resists occupation altogether. This chapter will also consider how the film mediates cultural understandings of the local and localism.
{"title":"A Green and (un)Pleasant Land","authors":"David Evans-Powell","doi":"10.2307/j.ctv1hqdjqx.6","DOIUrl":"https://doi.org/10.2307/j.ctv1hqdjqx.6","url":null,"abstract":"This chapter considers how the landscape is depicted in The Blood on Satan’s Claw. In examining the depiction of the rural landscape, the film’s pre-credits and opening sequences receive particular scrutiny. The chapter explores the countryside within the film through a number of different lenses: as a worked, agricultural landscape that is markedly different from those seen in Hammer’s gothic horror films; as a pastoral landscape that appreciates the beauty inherent in a stark and unsentimentalised topography as a variant on the richer and more sumptuous landscapes of heritage cinema; as an uncanny landscape that diminishes human presence and in doing so becomes an unfamiliar, disquieting environment; as a malign landscape that is actively hostile to those who dwell within it; and as a landscape that resists occupation altogether. This chapter will also consider how the film mediates cultural understandings of the local and localism.","PeriodicalId":340779,"journal":{"name":"The Blood on Satan's Claw","volume":"68 10","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120887095","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Anarchy in the UK","authors":"Kerry, Brown","doi":"10.2307/j.ctv1hqdjqx.10","DOIUrl":"https://doi.org/10.2307/j.ctv1hqdjqx.10","url":null,"abstract":"","PeriodicalId":340779,"journal":{"name":"The Blood on Satan's Claw","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129776618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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