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The world of horror is littered with unnerving locations.

Places that both draw from and have in turn seeped into the public imagination.

Perhaps the most symbolic of them all being the forest, the archetypal liminal space of what Joseph Campbell termed the hero's journey.

Not only is the forest dark and mysterious, but it is of course profoundly symbolic being as it is a manifestation of our deep unconscious.

As we venture deeper into the forest, so too do we journey deeper into ourselves?

In our quest to confront our greatest fears before with any luck, ultimately emerging, victorious and changed.

But for all the creatures and the hidden and unknowable fears we might discover along the way, the forest in a sense remains a space that is our own.

Those fears within our own to decipher and overcome.

Far more chilling therefore are the places that when entering we find ourselves crossing a threshold into a world that is very much not our own.

Places where no longer are we at the whim of our darkest unconscious, but rather that of somebody else's.

God forbid you ever find yourself checking into the bait's motel as found in Robert Box's psycho or stumbling into the family home of leather face.

So disturbingly depicted in Toby Hooper's mesmerizingly deranged Texas Chatesaw Massacre.

What both stories have in common is a location so inextricably linked to the bad guys as to be almost inseparable from them.

There is the sense that even when empty the locations will somehow incubate the things that have happened inside.

Both stories incidentally were partly based on the life of murderer Ed Gein, whose proclivity for manufacturing ornaments and furniture from human bone and skin continues to shock the world almost 60 years after the event.

After Gein's conviction it was decided that his house should be torn down.

So incapable were the local community from separating the location from the events that had taken place inside there was no other option but to remove it entirely.

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