Bollywood Horrors is a wide-ranging collection that examines the religious aspects of horror imagery, representations of real-life horror in the movies, and the ways in which Hindi films have projected cinematic fears onto the screen. Part one, “Material Cultures and Prehistories of Horror in South Asia” looks at horror movie posters and song booklets and the surprising role of religion in the importation of Gothic tropes into Indian films, told through the little-known story of Sir Devendra Prasad Varma. Part two, “Cinematic Horror, Iconography and Aesthetics” examines the stereotype of the tantric magician found in Indian literature beginning in the medieval period, cinematic representations of the myth of the fearsome goddess Durga's slaying of the Buffalo Demon, and the influence of epic mythology and Hollywood thrillers on the 2002 film Raaz. The final part, “Cultural Horror,” analyzes elements of horror in Indian cinema's depiction of human trafficking, shifting gender roles, the rape-revenge cycle, and communal violence. This book also features images (colour in the hardback, black and white in the paperback).

Bollywood Horrors is a wide-ranging collection that examines the religious aspects of horror imagery, representations of real-life horror in the movies, and the ways in which Hindi films have projected cinematic fears onto the screen. Part one, “Material Cultures and Prehistories of Horror in South Asia” looks at horror movie posters and song booklets and the surprising role of religion in the importation of Gothic tropes into Indian films, told through the little-known story of Sir Devendra Prasad Varma. Part two, “Cinematic Horror, Iconography and Aesthetics” examines the stereotype of the tantric magician found in Indian literature beginning in the medieval period, cinematic representations of the myth of the fearsome goddess Durga's slaying of the Buffalo Demon, and the influence of epic mythology and Hollywood thrillers on the 2002 film Raaz. The final part, “Cultural Horror,” analyzes elements of horror in Indian cinema's depiction of human trafficking, shifting gender roles, the rape-revenge cycle, and communal violence. This book also features images (colour in the hardback, black and white in the paperback).

This book studies the hitherto overlooked genre of horror cinema in India. It uncovers some unique and diverse themes that these films deal with, including the fear of the unknown, the supernatural, occult practices, communication with spirits of the deceased, ghosts, reincarnation, figures of vampires, zombies, witches and transmutations of human beings into non-human forms such as werewolves. It focusses on the construction of feminine and masculine subjectivities in select horror films across seven major languages – Hindi, Tamil, Telugu, Kannada, Bangla, Marathi and Malayalam. The author shows that the alienation of the body and bodily functions through the medium of the horror film serves to deconstruct stereotypes of caste, class, gender and anthropocentrism. Some riveting insights emerge thus, such as the masculinist undertow of the possession narrative and how complex structures of resistance accompany the anxieties of culture via the dread of laughter. This original account of Indian cinematic history is accessible yet strongly analytical and includes an exhaustive filmography. The book will interest scholars and researchers in film studies, media and cultural studies, art, popular culture and performance, literature, gender, sociology, South Asian studies, practitioners, filmmakers as well as cinephiles.

Traces the origins and history of horror motion pictures, identifies and reviews fifty essential movies, includes a look at key actors, actresses, and directors, and discusses related Web sites, festivals, and magazines.

In the dazzling world of Bollywood, where dreams shimmer as brightly as the stars, an undercurrent of dark secrets flows beneath the surface. Amidst this glamorous facade, Asavari, a fearless journalist with an insatiable curiosity, finds herself on the trail of a mysterious and chilling story. The suicide of a celebrated actress raises more questions than it answers, and Asavari is determined to uncover the truth. The investigation takes an unexpected turn when a suicide note left by the actress hints at something far more sinister. The note speaks of a dark, mystical force at work, leading Asavari into a world of ancient curses, forbidden rituals, and supernatural entities. As she digs deeper, she encounters the enigmatic figure of Mugdha Godbole, whose transformation defies the boundaries of reality and reason. Mugdha, once a mortal, has transformed into a terrifying presence. Her eyes have turned white, and her form has shifted into a ghastly black shadow. This remarkable transformation was witnessed by actress Kalpna Shing and her friends Reena and Meena on a night that will haunt their memories forever. The scene was surreal and horrifying—Mugdha's large eyes were glowing white, her face was changing color, and her clothes were turning as black as night. She became a terrible black witch with white eyes that struck terror into their hearts. As the three friends cling to each other in fear, Mugdha's terrifying transformation continues. She screams and roars, her voice a dreadful sound that reverberates through the room and their very beings. This voice, echoing like an angry bear, is something that Kalpna can never forget. The fear is palpable, and the supernatural presence of Mugdha leaves them trembling and unable to move. Mugdha's voice, now harsh and commanding, tells them not to be afraid, promising not to harm them if they remain calm. This voice, filled with both menace and allure, invites them to come closer. Despite their overwhelming fear, the three friends find themselves compelled to obey. They move their chairs closer to her, their bodies shaking with terror and anticipation of what is to come. In this tense and surreal moment, Mugdha reveals her true nature. She claims to live within the darkness, describing herself as a being of the night - a powerful entity whose presence is both a blessing and a curse. She offers them a deal: worship her, and she will grant them power and success beyond their wildest dreams. In return, they must accept her as their deity and receive a gift that will forever bind them to her. The stage is set for a harrowing journey into the unknown, where the lines between reality and horror blur, and the pursuit of truth leads deeper into the shadows. Kalpna, despite her fear, finds herself considering the offer filled with promises of ending sorrows and elevating to great heights made by Mugdha. The allure of success and the promise of a deity who can grant her deepest desires is almost too powerful to resist. She rationalizes that Mugdha’s terrifying appearance is a natural aspect of her supernatural power. With a mix of fear and a strange sense of hope, Kalpna folds her hands in respect before Mugdha. Seeing her do this, Reena and Meena follow suit, their minds filled with a blend of terror and a flicker of belief in the dark promise before them. The terrifying black woman’s dreadful laugh, sounding like thousands of voices, echoes through the room, sealing their pact with the night. Kalpna’s quest for answers in "The Witch of Bollywood" promises a tale of courage, resilience, and the dark allure of forbidden power, drawing readers into a world where every revelation brings new depths of terror and mystery.

Haunting Bollywood is a pioneering, interdisciplinary inquiry into the supernatural in Hindi cinema that draws from literary criticism, postcolonial studies, queer theory, history, and cultural studies. Hindi commercial cinema has been invested in the supernatural since its earliest days, but only a small segment of these films have been adequately explored in scholarly work; this book addresses this gap by focusing on some of Hindi cinema’s least explored genres. From Gothic ghost films of the 1950s to snake films of the 1970s and 1980s to today’s globally influenced zombie and vampire films, Meheli Sen delves into what the supernatural is and the varied modalities through which it raises questions of film form, history, modernity, and gender in South Asian public cultures. Arguing that the supernatural is dispersed among multiple genres and constantly in conversation with global cinematic forms, she demonstrates that it is an especially malleable impulse that routinely pushes Hindi film into new formal and stylistic territories. Sen also argues that gender is a particularly accommodating stage on which the supernatural rehearses its most basic compulsions; thus, the interface between gender and genre provides an exceptionally productive lens into Hindi cinema’s negotiation of the modern and the global. Haunting Bollywood reveals that the supernatural’s unruly energies continually resist containment, even as they partake of and sometimes subvert Hindi cinema’s most enduring pleasures, from songs and stars to myth and melodrama.

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.

As the first detailed English-language book on the subject, Korean Horror Cinema introduces the cultural specificity of the genre to an international audience, from the iconic monsters of gothic horror, such as the wonhon (vengeful female ghost) and the gumiho (shapeshifting fox), to the avenging killers of Oldboy and Death Bell. Beginning in the 1960s with The Housemaid, it traces a path through the history of Korean horror, offering new interpretations of classic films, demarcating the shifting patterns of production and consumption across the decades, and introducing readers to films rarely seen and discussed outside of Korea. It explores the importance of folklore and myth on horror film narratives, the impact of political and social change upon the genre, and accounts for the transnational triumph of some of Korea's contemporary horror films. While covering some of the most successful recent films such as Thirst, A Tale of Two Sisters, and Phone, the collection also explores the obscure, the arcane and the little-known outside Korea, including detailed analyses of The Devil's Stairway, Woman's Wail and The Fox With Nine Tails. Its exploration and definition of the canon makes it an engaging and essential read for students and scholars in horror film studies and Korean Studies alike.

Almost Everything You Wanted To Know About Bollywood Bollywood Corny, Kitsch, Even Crude At Times Is More Than Just A Giant Entertainment Juggernaut. It S A Part Of Indian Culture, Language, Fashion And Lifestyle. It S Also A Great Bundle Of Contradictions And Contrasts, Like India Itself. Regarded With Dubious Interest By Western Critics, Film Professionals And Movie-Goers, Today It Is The New Cool In International Cinema. This Book Vividly Examines Fifty Major Hindi Films In Entertaining And Intimate Detail. Thrillers, Horror, Murder Mysteries, Courtroom Dramas, Hong Kong-Style Action Gunfests, Romantic Comedies, Soap Operas, Mythological Costume Dramas&They Re All There. Have You Seen All The Films Reviewed And Mentioned In This Book? Did You Realise What Made Them Special The First Time Round? After Reading This Little Guide, You Will See Bollywood And Hindi Movies In A Whole New Light. Ashok Banker, The Author Of This Book, Is A Well Known Columnist, Novelist And Scriptwriter.

Genre in Asian Film and Television takes a dynamic approach to the study of Asian screen media previously under-represented in academic writing. It combines historical overviews of developments within national contexts with detailed case studies on the use of generic conventions and genre hybridity in contemporary films and television programmes.