Abstract
This article will focus on spectrality in the cinematic spaces of two Welsh language films, Yr Ymadawiad (The Passing) (2015) and Gwledd (The Feast) (2021). Both films envision spectral happenings as a means of exploring and re-exploring past and present debates about the endlessly contested nature of the Welsh landscape and the resulting hauntological traces within the national psyche. The films suggest contradictory versions of the Welsh landscape. Often described as empty and barren, Wales has simultaneously been seen as a rich resource for extensive extraction of its natural resources. With located hauntings by ghosts that are specific and placed, Yr Ymadawiad’s temporal indeterminacy imagines ghostly presences beneath the waters of a drowned village, while Gwledd depicts the horrific revenge of an earth at the mercy of humans, characterizing human use of rural space as monstrous and destructive. Both films are highly located and rooted within specific Welsh landscapes, depicting both the uniqueness of the Welsh experience and its intimate connection with global issues relating to the loss of land.
Published Version
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