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Widely regarded as one of the foundational 'Unholy Trinity' of folk horror film, The Blood on Satan's Claw (1971) has been comparatively over-shadowed, if not maligned, when compared to Witchfinder General (1968) and The Wicker Man (1973). While those horror bedfellows are now accepted as classics of British cinema, Piers Haggard's film remains undervalued, ironically so, given that it was Haggard who coined the term 'folk horror' in relation to his film. In this volume, David Evans-Powell explores the place of the film in the wider context of the folk horror sub-genre; its use of a 17th-century setting in contrast to the generic 19th-century locales of Hammer; the influences of contemporary counter-culture and youth movement on the film; the importance of localism and landscape; and the film as an expression of a wider contemporary crisis in English identity.