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 te...
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| Veröffentlicht in: | Economic and political weekly 2017-02, Vol.52 (7), p.27-30 |
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| creator | RAY, DIBYAKUSUM |
| description | 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. |
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| identifier | ISSN: 0012-9976 |
| ispartof | Economic and political weekly, 2017-02, Vol.52 (7), p.27-30 |
| issn | 0012-9976 2349-8846 |
| language | eng |
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| source | Jstor Complete Legacy |
| subjects | Aesthetics Bollywood films Film studies Genre Good & evil Horror films Ideology Motion pictures Philosophy Rationalism Spirituality Traditions |
| title | Hindi, Hindu, Horror: Politics of the Bollywood Horror Cinema |
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