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David Forgacs (1992) noted, “Snow White and the Seven Dwarfs (1937), Pinocchio (1940), Dumbo (1942), and Bambi (1942) were all designed as films for both young and old—clean, nonviolent, fantasies with songs and happy endings. In terms of its reception, it had a strange reincarnation in the 1960s as a hippy film. Their activities pose important questions about the ability of media producers to constrain the creation and circulation of meanings. The Wicker Man (Robin Hardy, 1973) is a film of particular interest to folklorists: here is a film that foregrounds and makes explicit the relationship between horror cinema, particularly horror cinema about paganism and witchcraft, and its folkloric roots. The film’s director, Robin Hardy, and its screenwriter, Anthony Shaffer, have made equally explicit their extensive research into Britain’s pagan past in order to realize their film. But The Wicker Man is furthermore a central film in discussing the relationship between folklore and popular culture, specifically popular film: for the kinds of research that Hardy and Shaffer have done raises several significant problems in the relationship between these two media. It is these points of convergence that this chapter discusses. The folklore discourse within The Wicker Man coalesces around the film’s reconstruction of an imaginary Celtic pagan past that has been revived on a remote Scottish island by the fictional laird Lord Summerisle (Christopher Lee). Specifically, the film’s titular set piece, in which the film’s protagonist Sergeant Neil Howie (Edward Woodward) is burned alive at the film’s conclusion in a sacrifice to the goddess Nuada to ensure the island’s agrarian prosperity, is based largely on the description of this rite in Sir James G. This misinterpretation, in many respects, results in a confusion regarding the different genres of oral folklore: Hardy and Shaffer did not seem to recognize that the “Wicker Colossus” story, as it appears in Frazer and his own sources (namely, Julius Caesar’s The Gallic Wars), is a legend told about one culture by a different culture. In this respect, as legend, the story that the ancient Celts burned people alive as sacrifices in these wicker colossi needs to be seen not as “literally” true but as legendary. Elliott Oring (1986) has noted, Legends are considered narratives which focus on a single episode, an episode which is presented as miraculous, uncanny, bizarre, or sometimes embarrassing. The narration of a legend is, in a sense, the negotiation of the truth of these episodes. This is not to say that legends are always held to be true, as some scholars have claimed, but that at the core of the legend is an evaluation of its truth status. This diversity of opinion does not negate the status of the narrative as legend because, whatever the opinion, the truth status of the narrative is what is being negotiated. In a legend, the question of truth must be entertained even if that truth is ultimately rejected. Thus, the legend often depicts the improbable with the world of the possible. The legend never asks for the suspension of disbelief. It is concerned with creating a narrative whose truth is at least worthy of deliberation; consequently, the art of legendry engages the listener’s sense of the possible.

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