First book to study the horror genre of Hindi cinema in all its forms and expressions
Filming Horror: Hindi Cinema, Ghosts and Ideologies bridges the gap that currently exists in the field of genre studies in Hindi cinema. Analyzing more than 80 horror films from Mahal (1949) to Ragini MMS 2 (2014), the book uncovers narrative strategies, frames unique approaches of investigation, and reviews the revolutions taking place within this genre.
The book argues that Hindi horror cinema, which lies at the intersection of myths, ideology and dominant socio-religious thoughts, reveals three major strands of narrative constructs, each corresponding to the way the nation has been imagined at different times in post-colonial India. Moving beyond establishing the theoretical framework of horror cinema, the book intends to demonstrate how this genre, along with its subsets, provides us with the means to contemplate the nation and its representation.
Meraj Ahmed Mubarki earned his Master's Degree and Doctorate in Journalism and Mass Communication from the University of Calcutta. He worked as a freelancer before moving into the academics. He has taught at various higher education institutions including Shri Shikshayatan College, Kolkata, and was the founding head of the Department of Journalism & Mass Communication. He is currently Assistant Professor in the Department of Mass Communication & Journalism at Maulana Azad National Urdu University, Hyderabad, where he teaches courses on film studies, advertising and market research, English journalistic skills and editing. He has contributed articles to renowned peer-reviewed international journals, such as Contemporary South Asia, Indian Journal of Gender Studies, Media Asia, Visual Anthropology and History and Sociology of South Asia. His research areas include gender, representation, ideology, cinema and genre studies.
Preface Acknowldgements INDIAN CINEMA AND IDEOLOGY Hindi Cinema and Ideology Cinema in the Colonial Context GENRE, CODES AND THE HORROR CINEMA Genre and Its Functionality Horror Genre and Spectatorship Freud and the Uncanny Robin Wood's Return of the Repressed Julia Kristeva and the Abject Generic Codes of the Hindi Horror Conjunctions and Departures with Hollywood Generic Features of the Hindi Horror Horror Cinema as Project of/for the `Nation' Nature of the Hindi Horror Genre SECULAR CONSCIOUS NARRATIVE Secularism in the Indian Context Mahal: The Inaugural Moment of the Secular Consciousness Madhumati Kohraa Bhool Bhulaiyaa RETURN OF TRADITIONAL-CULTURAL NARRATIVE Jadu Tona Gehrayee Phoonk The Horror in Science Fiction: Between Morals and Mad Scientists Historicity of the Monstrous Narrative India and the Discourse of Science Monstrosities from Science or Monstrous Science? The Horror of Transmutation The Triumph of the Traditional/Mythic Order The Monstrous `Other' Feminine Mangalsutra and the Monstrous Other Feminine Veerana Modernization of Patriarchy and Post-liberalization Female Monstrosity Raaz Eight: The Power of Shani Darling THE INFLECTION OF THE HINDUTVA `IDEO'LOGIC CINEMA 1920 Haunted Conclusion References Index