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Item Beyond the boundaries of jump scare: OTT platforms and the discourse of elevated horror(2025) Raj, Sony Jalarajan; Suresh, Adith K.; Petridis, SotirisThe way horror films attract audiences from all over the world reflects a universality tethered to the genre’s structural identity that depends on transgressive acts that produce fear. Horror fans are audiences whose existence is defined by this affinity to explore the realm of fear and the thrilling experience derived from it. But what really satisfies a horror fan? Is it the occasional viewing of narratives that offer repetitive “out of the blue” jump scares or the experiments that try to portray new formats of horror? In the present time, it is not only the structural changes but the medium of distribution that affects the viewing experience of horror. In the 21st century, one can find horror films that do not follow the typical jump-scare methodology to evoke fear getting more attention than those that adhere to it. (Changes in the media environment and global entertainment industry have led to such productions receiving more recognition and appreciation on an international level. An emerging context where perspectives and stories from non-Western worlds gain visibility has both challenged and redefined the attitude of horror in general. The most observable aspect of this is arguably the deconstruction of the emotion of fear. Questions related to what constitutes fear and what contributes to its construction are essential to a more critical definition of horror, and more crucially they add insights into the renegotiations that surround its redefinitions. Subgenres like techno-horror, ecohorror, and body horror have found new relevance in the changing social, cultural, and political scenarios, and their significance is more pronounced in terms of the psychological effect they produce. Real-life conflicts associated with technological expansion, ecological degradation, global disasters, and violence related to gender, race, and religion are traumatizing enough to nourish fear, and horror based on such tears affects the mental health of characters. Some critics define the 2010s as the decade of “grief horror,”' where the portrayal of psychological degradation through narratives that emphasize loss and grief contextualizes a new mode of elevated horror cinema that focuses on evaluating imminent threats of suffering that do not merely come from the external but, on the contrary, are part of the psyche of the subject who suffers.- Films like The Babadook (2014), It Tollows (2014), The Witch (2013), Mother! (2017), Hereditary (2018), Midsommar (2019), and The Lighthouse (2019) are noted for their treatment of subjects different from the conventional Western notions of horror. Such films often experiment with the genre of psychological horror and can be cited as examples of the “revival of horror” with a new ideology of horror that goes deep into discussions about topics rather than just scaring the spectator with momentary cheap thrills.Item Amitabh Bachchan’s revived star text in Bollywood cinema(2025) Raj, Sony Jalarajan; Suresh, Adith K.; Monti, Gloria; Shingler, MartinThe Indian popular film industry, known internationally as Bollywood, is home to big superstars who embody active masculine corporealities that define their larger-than-life star identities onscreen. Here, stars live in the realm of imagination, where their star text is constructed, historicized, and reproduced for a long time, thus extending the image of the star to multiple contexts that signify different aspects of stardom. The transformations a star has to undergo are crucial in deciding their fate. A star’s identity that was established in a particular era is often threatened when circumstances change. In order to survive in a new era, stars adopt new vehicles to renegotiate themselves by either abandoning their past glory or carrying a different version of it to the present. Among the many Indian superstars, Amitabh Bachchan can be identified as a classic example of a surviving star. With a career that spans more than five decades and two hundred movies, Amitabh Bachchan is considered one of the greatest actors in Indian cinema and a popular cultural icon. Famously endowed with titles such as “Star of the Millennium,” “Big B,” and “One-Man Industry,” Bachchan’s exceptional celebrity status as an actor, a producer, and a former politician in India is unparalleled, even expanding its impact to global levels and becoming a recognizable cinematic identity from the Asian diaspora. From the 1970s–1980s golden era that established him as the Indian “Angry Young Man” superstar persona to the short and failed political career surrounded by controversies and allegations of corruption, Bachchan’s on- and offscreen performances have been an important subject for both public debates and critical discourses. After a semiretirement from acting, Bachchan revived his career in the 2000s, when he started to appear in films that reflect the identity of an “aging star.”Item Aversion and othering: the discourse of food disgust and subalternity in Indian cinema(2024) Raj, Sony Jalarajan; Suresh, Adith K.; Roy, PinakiFood plays a significant role in the cultural integration and rejection of identities. It is because the notion of food and its associated signifiers contribute to the very structural framing of public discourses in relation to the power dynamics that define social status. Food choices and eating are related to socio-cultural contexts, environment, economy, and political power (McMichael). The symbolism of food in arts and literature has been so profound in many forms and they are often used to contextualise the violence, discrimination, inequality, racial prejudices, and excommunication of certain categories of people and their histories of resistance, cultural communications, and social inclusion (Ojwang 68). Food can be viewed as a unique and powerful "semiotic device" that provides meaning to those who consume them (Appadurai 494). The cultural and political character of food shapes the public identity of a class in a hierarchical social order. Food studies are often integrated with cultural studies to examine how food as a metanarrative gives information about individual subjects and their positions in the world around us (Ashley, Hollows, Jones, and Taylor).Item Constructing a universal star: the intersection of cine-politics and comradery capital in Kamal Haasan’s cinema(2025) Raj, Sony Jalarajan; Suresh, Adith K.; Lam, Celia; Raphael-Luu, JackieThis chapter examines the multifaceted persona of Kamal Haasan, exploring his evolution from a regional icon to a transnational star, through the lens of comradery capital. It analyses how Haasan shaped his star image within his Tamil Nadu fan base, where fans, communities, and fellow actors affectionately call him Ulaka Nayakan (Universal Star) as a sign of respect and comradery. This chapter argues that Haasan’s construction of his popular image denotes his versatility that appeals to a diverse audience, enhanced by his roles as actor, director, producer, and political figure. His unconventional cinematic endeavours have not only challenged traditional societal norms but also contributed to the commodification of his celebrity status, transforming him into a modern auteur.Item Sensationalism of suffering: the 'Kerala Model' media discourse of poverty porn(2026) Raj, Sony Jalarajan; Suresh, Adith K.; Ryan, Majka; Power, Martin J.; Devereux, EoinIn a technologically advanced environment where it is hard to discern reality from fiction, narratives that paint a particular picture about incidents and regions, geopolitical contexts and cultures, and demographics and social structures reveal structural patterns regarding biased worldviews. The coverage of global conflicts and the reporting of protest movements reveal the way media narratives shape the reality of situations differently. For instance, Western media’s portrayal of issues in the Middle East has been criticized for their propagandist misrepresentations. The reporting of the Israeli-Palestinian conflict, the Black Lives Matter Movement in the United States, and the 2020-2021 Indian Farmers’ Protests are contemporary examples showing how media frames events within preconceived narratives by strategically highlighting or ignoring certain aspects of the story to create an agenda (Bhowmik and Fisher 2023; Carney and Kelekay 2022; Raj and Suresh 2024).Item Engendering pleasures: children, gender identity, and the video game market(2025) Raj, Sony Jalarajan; Suresh, Adith K.; Zaborskis, MaryVideo games have become a global mass medium and multibillion-dollar industry, engaging individuals across various cultural and geographic contexts. As children frequently access video games with themes of violence and sexual objectification, there is growing concern over the portrayal of gender and sexuality within these virtual spaces. Mature-rated video games, such as Mortal Kombat and Grand Theft Auto introduce themes that shape children’s perceptions of gender roles and sexual identity in troubling ways. With online accessibility undermining age restrictions, parents and regulatory systems face significant challenges in controlling exposure. This chapter focuses on the portrayal of gender in video games and explores how these representations contribute to the marginalization and objectification of female characters. Game designers and developers, in response to market pressures, often prioritize visual pleasure for a predominantly male audience, perpetuating gender stereotypes. This portrayal not only reflects but also reinforces problematic understandings of gender and sexuality among young players, who internalize these virtual experiences as credible reflections of real-world dynamics. The chapter also examines potential strategies for content regulation, seeking to balance moral considerations with the demands of the gaming market.Item Queer moms, trash aesthetics, and suburban filth: the portrayal of maternal abject in John Waters’ cinema(2025) Raj, Sony Jalarajan; Suresh, Adith K.; Moore, Michelle E.; Brems, BrianA major academic study of John Waters’s films from a variety of perspectives covering his work and its intersections with culture Contains a brand new chapter-length interview, in which Waters reflects on his films, influences, impact and life Brings together a diverse collection of essays from a variety of academics who are the first to give serious analytical consideration to Waters’ films Taken as a whole, the book makes a large contribution to film studies by showing how Waters’s films reveal the cohesive point of view of an overlooked filmmaker The first collected volume of work on cult film director and icon John Waters, which offers a comprehensive study of his work as an important filmmaker and cultural force. Includes chapters covering important themes in Waters’s work, stylistic tendencies, his relationship to the art world, and interviews reflecting on the impact of Waters’s films on his collaborators and audience. Also features a new retrospective interview with Waters in which he reflects on his career and films.Item The angry young man strikes: an exploration into Lindsay Anderson’s political satires(2025) Raj, Sony Jalarajan; Suresh, Adith K.; Kitchen, WillProvides new scholarly interpretations of films by British director Lindsay Anderson New interdisciplinary research on Lindsay Anderson Fresh interpretations of neglected texts using contemporary critical themes Contains international contributions from both established and emerging academics Following the centenary of Lindsay Anderson’s birth (1923-94), this edited collection of original essays re-examines the work of one of British cinema’s most iconoclastic and challenging directors. Building upon existing scholarship and authorial frameworks, the chapters included engage with a range of highly contemporary interpretive themes and approaches, including regionalism, reception, trauma, queer theory, genre, collaboration and gender representation. Addressing a number of methods and key themes which have arisen in the years following Anderson’s death, ReFocus: The Films of Lindsay Anderson offers a diverse exploration of his screen work from a contemporary critical perspective. The chapters provide fresh insights into some of the most significant texts in the history of British cinema, including films, concepts and creative relationships that have shaped modern screen culture.Item Entangled empowerment: the divine dynamics of the snake woman in India(2025) Raj, Sony Jalarajan; Suresh, Adith K.; Stevenson, Keri'Entangled and Empowered: Agency in Multispecies Communities' is a collection that approaches the inevitable reality of entanglement between humans and other beings from a perspective of action and wonder. It argues that actors as diverse as bacteria, snakes, butterflies, ducks, and cacao trees can help us enact joy in fields as different as art, cinema, literature, and anthropology. While acknowledging the imminent reality of climate change, the sixth extinction, and other overwhelming threats to the Earth, this book argues that humans continue to live, and so do the beings whose lives are entwined with ours, for whom we can acknowledge and work to improve their existence. The nine essays in this volume trace that acknowledgment and work through three sections centered on visual media, queer and feminist readings of empowerment, and movements beyond the boundaries enacted by anthropocentric Western society. Drawing on theories such as new materialism, posthumanism, and ecofeminism, and with an international perspective from authors working at American, South Asian, and East Asian universities, 'Entangled and Empowered' finds hope in the shadow of despair. It engages with work by Anna Lowenhaupt Tsing on entanglement, Donna Haraway on kin-making and multispecies communities, and Karen Barad on intra-actions, among others, while also showing how critiques of these ideas can make the world both more promising and more endangered. This collection will be useful for scholars working in all subfields of environmental humanities, especially those intersecting with the theories described above and as an archive of examples analyzing practical aspects of agency in diverse multispecies communities. Scholars studying texts as well-known as 'The Handmaid’s Tale' and as obscure as the codices of the Mopan Maya will find value in having both under one cover.Item Digital populisms and gender justice: the attack on female activists in cyberspace(2025) Raj, Sony Jalarajan; Suresh, Adith K.; Kotaman, Asli; Şener, GülümFocusing on various regions, this collection highlights a rich diversity of feminist activism. The ways feminist movements work, the tools they use, and the outcomes they achieve vary with local dynamics and cultural contexts. In Pakistan, digital activists resist gender-based violence through social media, while in Mexico, protests against femicide resonate globally through digital platforms. In Turkey, feminist video activism builds collective memory, and in Poland, women organize online against abortion bans. This diversity showcases the adaptability, creative strategies, and evolution of feminist movements as they navigate opportunities in the digital age. Feminist activism expresses itself in different voices and methods of resistance across regions, yet all these variations underline a global unity in the fight for equality. This collection demonstrates the expansive, dynamic nature of feminist movements worldwide and examines how local and global struggles intersect.Item The gender monster in Indian cinema: the construction of the transnational other(2024) Raj, Sony Jalarajan; Suresh, Adith K.; Rawle, Steven; Hall, MartinIt is through the discursive definitions of monstrosity that the notion of the monster emerged, often as an idea or metaphor but also as a signifier of physical forms of existence. A monstrous entity that exists in imagination is one that feeds fear and anxiety as emotions that are meant to be enjoyed by their consumption through fictional narratives and literary fantasies. However, the assertion of monstrosity to human bodies or the interpretation of human bodies as monsters creates a different context, a rather serious one, where discussions have to reach the socio-political dimensions of monstrosity. This immediately compels us to analyse the human body in terms of how factors such as gender, sexuality, and race construct identities and their public perception in mainstream society. In India, monsters are a part of popular culture where the literary and visual representations of the non-human are interwoven with the human. The religious imagination of monsters in the form of Gods, demons and mythical creatures is reflected in temple art, sculptures, and paintings, and Indian epics such as Mahabharata and Ramayana have popularised images of the non-human through their epic narrative constructions. The ritual practices and cultural negotiations surrounding the monsters make them more than "metaphors" but "ontological realities that are experienced viscerally, shape human behavior, and leave tangible traces" (Arumugam, 2020, 46). Contrary to Western adaptations, cinematic representations of the Indian monster are modelled on existing folklore narratives and religious tales where the idea of the monster emerges from imaginations and superstitions of the land.Item Towards mature manhood: the representation of neoliberal boyhood in Bollywood cinema(2025) Raj, Sony Jalarajan; Suresh, Adith K.In India, social, economic and cultural barriers shape boyhood as a precursor to masculine authority in a traditional patriarchal sense. This paper examines how the radicalness of rebellious boyhood challenges the dominant discourses of traditional masculinity and constructs a reconfigured masculine ideal in a world defined by the pressures of modern values. Through a close textual analysis of the 2010 Hindi film Udaan, this article explores the tensions between societal norms and individual aspirations in the construction of Indian boyhood. The film portrays boyhood as a rebellious category that attempts to subvert traditional Indian patriarchal notions of manhood and family structure, replacing them with a new masculine ideal aligned with modern concepts of freedom, self-reliance, and cooperative engagement. Interpreted within the context of neoliberalism in India, the paper illustrates how the boy protagonist detaches himself from conventional patriarchal constraints and rebuilds his identity, gaining agency in a liberal society that values freedom and choice. The exclusion or devaluation of female characters in the film further suggests that while neoliberal boyhood reconfigures traditional patriarchal masculinity, it simultaneously perpetuates male freedom to perform heteronormative identities within a transformed patriarchal framework.Item Fragile fat masculinities: the narrative construction and masculine negotiation of fatphobia in Malayalam cinema(2025) Raj, Sony Jalarajan; Gayathri, G. R.; Suresh, Adith K.The portrayal of the male fat body in Indian cinema is intertwined with prevalent social constructs and gender stereotypes regarding idealized masculine corporeality. The fat character is frequently depicted as a source of humour that not only reinforces fatphobic attitudes but also underscores the normalization of body shaming in Indian society. This article scrutinizes the representations and discourses surrounding fatness within the context of Malayalam cinema, the South Indian film industry based in the state of Kerala. It specifically analyzes two key Malayalam films to understand how visual narratives construct fat bodies using humour to shed light on the protagonist’s struggles with body image, societal prejudices, and self-acceptance. This paper argues that the construction of fatphobia degrades male characters and reduces them to objects of revulsion, thereby reinforcing stereotypes of desirability and beauty. These films use a common narrative that presents fat characters as kind-hearted, childish and feminized to create a humanized body image to conceal the fatphobia that surrounds their masculinity. These forced narrative negotiations reinforce fragile fat masculinities through the exaggerated social performance of fatness as something that invites a pleasurable gaze without destigmatizing the insecurities and societal norms around body image and masculinity.Item Understanding suburban liminality: The representation of Mumbai in Indian cinema(2025) Raj, Sony Jalarajan; Suresh, Adith K.; Flajšarová, Pavlína; Flajšar, Jiří; Freitag, Florian; Nicolaides, Becky; Wiese, AndrewThis chapter examines how suburban Mumbai is portrayed in Indian cinema, exploring the representation of its liminality where progressive and regressive elements coalesce. It examines films like Deewar (1975), Satya (1998), Slumdog Millionaire (2008) and Gully Boy (2019) to explore how these films navigate the balance between progress and regress within the suburban context. On one hand, they depict the aspirational dynamics of the suburbs, where dreams are born and realized. On the other hand, they expose the underbelly of this very dreamland, marked by poverty, inequality, and crime. This study highlights the critical role of spatial representation in shaping the perception of suburban Mumbai as a liminal space. The confined chawls, busy markets, and congested lanes reflect the conflicting aspirations and values that define the suburban experience in Mumbai. This study argues that suburban Mumbai is a liminal space where traditional cultural values intersect with modern, often conflicting, urban influences, creating a complex environment that blurs the boundaries between the rural and the cosmopolitan. It shows how Indian cinema represents the dynamic and conflicting nature of suburban existence in Mumbai.Item Sovereign consumers in a pro-local media ecosystem: the future of OTT streaming in India(2025) Raj, Sony Jalarajan; Suresh, Adith K.; Menon, Devadas; Arao, Danilo Araña; Lim, Weng Marc; Cheong, Huey FenThis chapter is a review-based examination of the future of Over-the-Top (OTT) streaming platforms in India. The significant shift brought about by OTT platforms has redefined the creation and distribution of regional content, granting creators unprecedented freedom from content moderation. While this freedom enhances artistic expression and user satisfaction, it raises concerns about its impact on cultural production through media. This chapter employs a literature review approach to analyse the future of OTT in India within a media discourse that leans towards establishing a pro-local media language. It addresses the limitations of existing censorship comparisons between traditional Indian television and OTT platforms, emphasising the need for a more nuanced understanding of content moderation on Indian OTT platforms. The significant impact of OTT streaming platforms in India is that they challenge traditional media paradigms and contribute to a new cultural mode of interactivity. By promoting global and local content, OTTs are fostering a dynamic hybrid culture industry that reconfigures existing cultural norms and practices.Item Exploring the future of urban death: speculative design and the concept of necropolis 4.0(2025) Baradaran Rahimi, FarzanAs urban areas rapidly expand, they grapple with multifaceted issues such as population growth, climate change, land shortage, resource constraints, and social inequalities. Proactive planning for the future is essential to foster the development of sustainable and resilient cities capable of adapting to evolving needs. One such needs is designing for death in the urban future, given the outdated, polluting, cumbersome, and unsustainable methods currently in use. Drawing inspiration from theories of social space, hybrid space, and the historical concept of the necropolis, while integrating technological advancements such as extended reality, super artificial intelligence, quantum computing, biodegradable materials, and Web 4.0, this study aims to reimagine the design for death in the urban future through three alternative scenarios. Integrating technique for order preference by similarity to ideal solution into speculative design approach, experts' evaluation identifies Necropolis 4.0 as the closest scenario to the ideal solution. Findings serve a dual purpose. First, focusing on Necropolis 4.0, establishes a nature-human-machine relationship and paves the way for designers, planners, and policymakers to envision a novel, green, and sustainable design for death in the urban future. Second, methodological contribution of this research enhances the way we use speculative design approach in urban planning.Item Agile digitization for historic architecture using 360° capture, deep learning, and virtual reality(2025) Baradaran Rahimi, Farzan; Demers, Claude M.H.; Karimi Dastjerdi, Mohammad Reza; Lalonde, Jean-FrançoisThe agile digitization of historic buildings is becoming increasingly critical for preservation, conservation, and maintenance in response to climate change, geopolitical conflicts, and other threats of destruction. This paper explores whether deep learning-based novel-view synthesis, combined with commercial 360° cameras and standalone virtual reality headsets, can streamline the digitization process for historic architecture. A case study of a historic interior in Québec, Canada, is used to evaluate the method's capacity to enhance agility, accuracy, and efficiency. The findings demonstrate that this approach significantly reduces complexity, labor, cost, and time while improving precision and workflow. These outcomes offer particular value to heritage experts, building engineers, and creative professionals seeking practical tools for agile digitization of historic architecture. By advancing digitization methods, this study also inspires future research into the broader applications of deep learning and immersive technologies for cultural heritage preservation.Item Every child matters: non-normative fatherhood of care and compassion in Malayalam cinema(2025) Raj, Sony Jalarajan; Suresh, Adith K.; Podnieks, Elizabeth; Henriksson, Helena WahlströmThis chapter surveys the evolving portrayal of fatherhood in Malayalam cinema. The chapter examines how traditional notions of parenthood in South Indian society, often centered on biological and patriarchal roles, are being challenged by narratives of adoptive fatherhood. In analyses of films like Photographer (2006), Ottaal (2014), and Pengalila (2019), the chapter discusses how these stories depict fathers who adopt and care for marginalized children, and thereby subvert entrenched caste and class dynamics. These films serve as reflections of non-normative fatherhood in regional spaces, and underscore the significance of parental care in non-Western contexts. The chapter argues that such cinematic representations advocate for social justice, inclusivity, and empathy, challenging conventional views on family and societal norms in India. Malayalam cinema, portraying adoptive caregiving as a radical act of compassion and solidarity, offers alternative perspectives on family, inheritance, and societal belonging.Item Conceptualizing people’s cinema: John Abraham, Agraharathil Kazhuthai (1977), and the indie cinema of South India(2025) Raj, Sony Jalarajan; Suresh, Adith K.; Sarkar, Jayjit; Sarkar, AnikMalayalam filmmaker John Abraham (1937–1987) is often ranked among the greatest experimental independent filmmakers in India. His films are not only significant for discussions involving the social, cultural, political, and philosophical problems they deal with but also for the very process of filmmaking involved in their creative evolution. Abraham’s involvement in the formation of Odessa Collective—a people’s film movement for independent film productions based on public intervention and funding—made him one of the passionate proponents and forefathers of independent cinema in India. This chapter examines the crucial role of John Abraham in the development of experiential independent filmmaking in India by analysing one of his magnum opuses, the National Award-winning film Agraharathil Kazhuthai (1977) (trans. Donkey in the Brahmin Village), noted for its bold criticism of orthodox social institutions of caste, class, and subalternity that resulted in its banning and exclusion from mainstream discussions. This chapter investigates how this film became a precursor to John’s rise as a radical figure in the realm of parallel cinema in India, especially its role as a controversial work of independent art that pioneered a “new wave” movement in South Indian cinema. After winning the National Award for Best Tamil Feature Film, Agraharathil Kazhuthai reinforced the filmmaker’s quest for making authentic independent films by abandoning all possible elements of commercial mainstream cinema and developing the notion of ideal independent cinema through collective participation.Item Screening divine monsters: the angry mother in Indian popular cinema(2025) Raj, Sony Jalarajan; Suresh, Adith K.; Liddy, Susan; Flynn, DeirdreThe image of the mother is one of the most recognisable identities in Indian cinema. Representations of the Indian mother often align with the cultural archetype that portrays her as a dutiful, caring, and nurturing figure. The mother is a submissive figure who is confined to the boundaries of the domestic sphere, where she is subjected to exploitation and violence. Mothers that subvert this cultural ideal can be imagined as ‘angry’ because they are powerful transgressive figures who refuse to conform to the normalised oppressiveness of society. This chapter analyses the representation of the angry mother in contemporary Indian cinema, where motherhood is signified as a radical category with the power of destruction. It examines pan-Indian blockbuster films Bahubali: The Beginning (2015), Baahubali 2: The Conclusion (2017), K.G.F: Chapter 1 (2018), and K.G.F: Chapter 2 (2022), where the mother’s role as a powerful commanding figure helps to cement the heroic stature of the film’s hypermasculine figures. These films not only glorify the mother’s suffering as a quality that idealises Indian motherhood but also reinforce the anger of the mother as a source of inspiration for the male hero to redefine himself as a powerful, destructive figure under the shadow of his mother. For instance, the film K.G.F presents the suffering mother figure to validate its antihero, illustrating how parents perceive their children as instruments for seeking revenge. The image of the angry mother in India is a glorified, powerful agency whose commanding power enforces the male protagonist to act in favour of the mother’s desires.