Mapping the History of the Boogie Man in Indian Horror Films

Introduction

The genre of Indian Horror Films has been under-explored since its inception in the early 1940s. The theme of the Indian horror films revolve around haunted places, moral wickedness, wicked spirits and demons. Contemporary Indian cinema has been saturated with romantic and action films which show case super human male protagonists. Song and dance is unique characteristic of Bollywood films, where the antic is used excessively to the disgust of many critics. Incorporation of song and dance in Indian films is outrageous and the film products are usually referred to as masala movies. The success of mainstream romantic films from Bollywood is owed to the rich dialogue while other movie aspects such as background effects and sounds are less analyzed (Deimantas, 2011).

While most of these films explore romance and heroism, horror films are beyond these explorations creating a more complex scenario where the normal humans can never prevail. Indian Horror Films have received quite low audience as compared to other genres in the film industry. This genre in India has been at the bottom of the industry for quite a long time. This paper will describe the history of the Bollywood horror movies and express how the field is under researched. Strategic analysis of Indian horror films will be developed as well as establishing the relationship of “the bogie man” of the era (Dhusiya, 2014).

History of the Indian Horror Films Industry

            The genre of Indian Horror Films has been under-explored since its inception in the early 1940s. The theme of the Indian horror films revolve around haunted places, moral wickedness, wicked spirits and demons. This is a common vice explored in major horror films in the contemporary world. Although critics have widely opposed production of Indian Horror Films due the extreme nature of violence depicted in the movie, some have gained wide audience and have become people’s favorite at all times. Indian Horror Films have however not gained much audience and reception in public theatres since their inception (Choudhury, 2007).This section…”

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