This chapter discusses the relationships found in three predominant cinematic examples of Folk Horror: Witchfinder General (1968), The Blood on Satan's Claw (1971), and The Wicker Man (1973). The trilogy were all summoned into existence during what can be called the British counter-culture movement, almost acting as signposts for its tidal highpoint of 1968 in Witchfinder and the dying, post-Manson embers of Wicker in 1973. The chapter argues that the trilogy are capable of both interconnection and of standing alone; their themes being permeable and mantra-like in their ease of repetition. This connection is not strictly that of British folklore's purely aesthetic or thematic influence, but is instead linked to certain elements within its narrative happenings; they share a mirrored but ultimately differing birth. The chapter then considers the theory of Folk Horror Chain: a linking set of narrative traits that have causational and interlinking consequences.
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