Motion picture film stills cannot be licensed by MoMA/Scala. All requests to license archival audio or out of copyright film clips should be addressed to Scala Archives at. At this time, MoMA produced video cannot be licensed by MoMA/Scala. MoMA licenses archival audio and select out of copyright film clips from our film collection. If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations). The Wicker Man reflects profound divisions: it’s a decisively British interpretation of the failure of hippie culture at the same time that it calls traditional authority into question it challenges a reluctance to return to nature and the generation’s abandonment of community in favor of new individualism and it both embraces and discards community, nature, sex, religion, tradition, capital, and the value of human life. Kennedy, the 1969 riots, and increasingly fragile economies. Emerging just after the death rattle of the utopian ideal of the 1960s, The Wicker Man joins American shockers like The Texas Chainsaw Massacre (1974) and Last House on the Left (1972) in grappling with societal disillusionment in the wake of the Vietnam War, the assassinations of Martin Luther King Jr. Hardy’s film, now a cult classic, situates horror at the boundaries of sanity and puts the moral high ground up for grabs. Robin Hardy’s The Wicker Man is the third film in the “Unholy Trinity of Films That Gave Birth to Folk Horror,” following The Witchfinder General (1968) and The Blood On Satan’s Claw (1971). With Edward Woodward, Britt Ekland, Diane Cilento.
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