Hindi, Hindu, Horror: Politics of the Bollywood Horror Cinema

Mubarki apparently pledges fealty to the former, takes up a slice of the Indian popular and posits it as axial to a shifting cultural-political modernity, yet his frequent incursions into disparate contexts like aesthetic theory, Anglophone studio horror and a partial refusal to relegate the film text as a stooge of the social narrative entirely-all make the book under review a moderately important addition to the canon of Indian Film Studies. Ergo, the "Hindu" cinema thrived, other-ing the larger Muslim populace. [...]Mubarki mentions the works of V Shantharam, M Bhavnani et al to nod at the "fictive unity" the Hindu cinema tried to evoke by imagining a shared experience of national pride through films primarily concerned with one religious identity. Other identities are/were welcome, as long they share the Hindu nationalist reverie. [...]what makes Hindi horror deserving of its moniker? [...]Mubarki's argument in this part of the books can further be divided into three broad categories.