This chapter investigates the use of the rural setting in Folk Horror. David Gladwell's 1976 experimental feature Requiem for a Village questions the logic of such location-bred violence by looking into darker aspects of the rural. This is not simply through emphasis upon the topographical difference between urban and rural areas but more akin to the accoutrements of rural living and lifestyle; the aesthetics of farming, and other practices that are required to live off the land have a dual character of violence and history. Folk Horror regularly builds its sense of the horrific around societies and groups of people that have very specific ways of life, and it is not by sheer chance that these often happen to be rural rather than urban. This sense of divide between the two accounts for what was called ‘skewed belief systems and ideologies’, but there is more to it than the allowing of pulp forms of paganism and occultism to grow; Folk Horror uses the otherness that can be attributed to rural life to warp the very reality of its narrative worlds and often for its own explicit means.
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