Defining Suspense/Thriller and Romance in Indian Cinema (2025)

1. Introduction

Genre study constitutes a foundational framework within film studies, providing essential tools for analysing the creation, reception, and interpretation of cinematic works. Film genres, while often exhibiting distinct characteristics, are not static entities and frequently demonstrate fluidity and overlap, reflecting the evolving nature of storytelling and audience expectations. This report aims to define and analyse seven prominent film genres – Suspense/Thriller and Romance– through the application of relevant theoretical frameworks and the examination of critical perspectives. Furthermore, the report will provide specific Indian cinematic examples for the Suspense/Thriller and Romance genres, offering a cultural context to the broader discussion. The structure of this note will involve defining each genre, exploring pertinent theoretical approaches to genre analysis, discussing the views of key critics and thinkers, and finally, analysing selected Indian films to illustrate the specific characteristics of the Suspense/Thriller and Romance genres.

2. Defining the Genres in Film Studies

• 2.1 Suspense/Thriller:The suspense/thriller genre is a broad cinematic category characterized by its primary aim to evoke strong emotional responses in the audience, specifically excitement, suspense, a heightened sense of anticipation, uncertainty, anxiety, and nerve-wracking tension. These films are designed to keep viewers on the edge of their seats as the narrative unfolds. While the terms ‘suspense film’ and ‘thriller film’ are often used interchangeably due to their similar characteristics, a subtle distinction can be observed. Thrillers often employ a faster pace and emphasize action, focusing on the events that occur once a sense of danger or threat has been established. In contrast, suspense films tend to build tension and uncertainty more gradually, creating anticipation in the audience about what might happen. The pacing of the narrative serves as a key differentiating factor between these closely related forms.

Key characteristics frequently found in suspense/thriller films include intricate plot twists, misleading clues known as red herrings, narrators whose reliability is questionable, and cliffhangers that leave the audience in a state of unresolved tension. High stakes are typically involved, with the protagonist often facing menacing situations and significant danger. A common narrative device is the withholding of crucial information from the viewer, which contributes to the overall sense of unease and anticipation. Common thematic concerns within this genre encompass terrorism, political conspiracies, pursuits, murder, various forms of crime, and psychological intrigue. A frequent narrative pattern involves innocent, often unsuspecting, victims who find themselves confronting deranged adversaries. The suspense/thriller genre also encompasses a range of subgenres, including action thrillers, which blend high-stakes action with suspense; comedy thrillers, which incorporate humour into suspenseful scenarios; conspiracy thrillers, where the protagonist confronts powerful, hidden enemies; crime thrillers, which focus on suspenseful accounts of criminal activities; erotic thrillers, where sexual relationships play a crucial role in the plot; and psychological thrillers, which emphasize the mental and emotional states of the characters. These subgenres often demonstrate hybridization with other broader film categories, such as science fiction and horror, further expanding the thematic and stylistic possibilities within the suspense/thriller genre.

• 2.2 Romance:The romance genre in film centres on the exploration of love and romantic relationships between characters, forming the core of the narrative. The plot typically revolves around the affectionate and passionate involvement of two main protagonists. Common themes explored within this genre include the initial spark of love at first sight, the complexities of forbidden love, the emotional entanglements of love triangles, acts of sacrificial love, the intensity of passion, the development of intimacy, and the establishment of deep emotional connections. Romance films often delve into various issues and challenges that arise within the context of love. The emotional journey of the characters typically involves the initial formation of a romantic bond, the emergence of conflict or obstacles, and the eventual resolution of these challenges. The overall tone of romance films can vary significantly, ranging from light-hearted and joyful to deeply emotional and tragic. The romance genre encompasses a diverse array of subgenres, including chick flicks, often targeted towards female audiences and featuring light romantic themes; historical romances, set in the past and often involving epic love stories; paranormal romances, which incorporate supernatural elements into romantic relationships; romantic comedies, which blend humour with romantic narratives; romantic dramas, which explore the more serious and complex aspects of love and relationships; romantic fantasies, which integrate elements of fantasy into romantic plots; romantic musicals, where song and dance are integral to the romantic storytelling; and romantic thrillers, which combine elements of romance with suspense and danger. The cyclical presence of romance films throughout cinema historyunderscores its enduring popularity while also demonstrating its capacity to adapt to evolving audience preferences.

3. Theoretical Frameworks of Film Genres

The study of film genres is approached through various theoretical frameworks, each offering unique insights into their nature and function. Thestructuralist approachexamines genre by identifying recurring patterns, conventions, and codes that are common across films within a particular category. This perspective emphasizes the shared elements that define a genre and distinguish it from others. Thehistorical approachviews genres as dynamic entities that evolve and transform over time, influenced by shifts in cultural values, technological advancements in filmmaking, and the changing tastes of audiencesfor thriller;for romance]. Genres are not static but rather adapt to the social and industrial contexts in which they are produced.

Another key concept is that ofgenre as a contract between filmmakers and audiencesfor thriller]. Audiences come to films with certain expectations based on their understanding of genre conventions. Filmmakers often operate within these established frameworks, either fulfilling or subverting these expectations to create particular effects. Theauteur theoryalso intersects with genre studies, focusing on the director as the primary creative force behind a film. Auteurs may work within specific genres, using the conventions as a foundation for their personal style and thematic concerns, or they may deliberately challenge and reinterpret genre normsfor thriller;for romance]. For example, Alfred Hitchcock’s distinctive style and thematic preoccupations are readily identifiable within the thriller genre.

Feminist film theoryoffers a critical perspective on genre, particularly concerning the representation of women. This approach examines how genres may reinforce or challenge societal gender norms and power structures. For instance, the portrayal of women in romance and thriller films has been a subject of extensive feminist analysis;. Finally,psychological approachesexplore the emotional and cognitive responses that genres evoke in viewers. For example, the suspense and horror genres are often analysed in terms of their ability to tap into and play upon audience anxieties and fearsfor thriller;for romance]. The feeling of suspense itself engages the brain and elicits a range of emotions in the viewer.

4. In-depth Analysis: Suspense/Thriller

• 4.1 Theories of Suspense and Thriller:A fundamental theory in understanding the suspense/thriller genre revolves around the distinction between suspense and surprise, famously articulated by Alfred Hitchcock. Hitchcock posited that suspense is generated when the audience is aware that something bad is going to happen, creating a sense of anticipation and dramatic irony, as they possess information that the characters do not. This foreknowledge makes the audience active participants, anxiously awaiting the inevitable. In contrast, surprise is a moment of shock that occurs without prior audience awareness. Hitchcock believed that emotion is crucial to suspense, differentiating it from mere curiosity, which is often the driving force behind mystery narratives. The pacing of a film also plays a significant role in defining its nature as either suspenseful or thrilling. Suspense typically relies on a slower build-up of tension, allowing the audience’s anticipation to grow. Thrillers, on the other hand, often employ a more rapid pace, focusing on the unfolding of events and confrontations once the danger has been established. Indeed, thrillers are often characterized by their rapid progression, while suspense is marked by its gradual accumulation of tension. Key elements that contribute to the creation of suspense include the manipulation of time, the introduction of uncertainty about the outcome, the clear articulation of what is at stake for the characters, and the eventual payoff or resolution of the suspenseful situation. Uncertainty is particularly vital for maintaining suspense, as it keeps the audience invested in the potential outcomes.

Charles Derry, in his seminal work “The Suspense Thriller,” offers a more academic definition, focusing on suspense thrillers as crime films that deviate from the traditional detective narrative. Derry highlights that these films typically feature non-professional criminals or innocent victims as protagonists, rather than conventional law enforcement figures. A core event frequently observed in the thriller genre is the “Hero at the Mercy of the Villain,” which represents the climax of the narrative where the protagonist’s safety and well-being are most severely threatened. This moment often underscores the high stakes of the conflict and the potential for the protagonist’s ultimate failure or damnation.

• 4.2 Key Critics and Thinkers and their Views:Alfred Hitchcockremains the most influential figure in the study and practice of the suspense/thriller genre. His understanding of how to manipulate audience emotions was profound. He differentiated suspense from surprise, emphasizing the audience’s informed anticipation of impending doom as the key to creating a truly gripping cinematic experience. Hitchcock developed numerous filmmaking techniques specifically designed to generate suspense. These included the strategic use of subjectivity, where camera movements and angles mimic a character’s point of view, drawing the audience into their perspective. He also believed in providing the audience with crucial information that the characters lacked, thereby heightening the tension as viewers anticipate the characters’ eventual confrontation with the unknown danger. The use of montage, a sequence of short shots, allowed Hitchcock to control the timing of revelations and subtly convey information while withholding key details, thus engaging the audience’s imagination and building suspense. He also advocated for keeping the narrative relatively simple and linear to maximize its dramatic impact and avoid audience confusion, and for developing characters with unpredictable personalities to defy clichés and keep the audience guessing. Hitchcock also employed the “MacGuffin,” a plot device that serves as the object of desire or motivation for the characters but is ultimately insignificant to the overall narrative. Furthermore, his films frequently explored the darker aspects of human psychology, including themes of sexuality, voyeurism, guilt, punishment, paranoia, and obsession. Hitchcock often placed seemingly ordinary individuals, whom he referred to as the “vulnerable everyman,” into extraordinary and life-threatening situations, often as a result of mistaken identity or wrongful accusation. His theory of proximity, using camera distance to control the intensity of emotions, was another key element of his directorial style.

Robin Woodmade significant contributions to film criticism, particularly in the realm of horror, which he saw as closely related to the thriller genre. Wood co-organized the influential “American Nightmare” horror film festival, which aimed to elevate the critical understanding of the genre. His central theory, “the return of the repressed,” posits that the monsters and threats in horror and thriller films function as allegorical representations of societal fears, anxieties, and the elements that society seeks to repress or marginalize. In essence, Wood’s succinct formula is that normality is threatened by the monster.

Charles Derryprovided a more structured and academic analysis of the suspense thriller genre. His work categorized thrillers into several subgenres based on their primary thematic concerns, such as the thriller of murderous passions. Derry also explored the psychological impact of these films on viewers, investigating the seemingly paradoxical enjoyment derived from experiencing anxiety and fear in a controlled cinematic setting.

Martin Rubinoffered a perspective on the inherent difficulties in precisely defining the “Thriller” genre due to its broad and often vague nature. He emphasized that thrillers tend to prioritize action, suspense, atmosphere, and the elicitation of intense feelings like suspense, fright, mystery, exhilaration, excitement, speed, and movement over more introspective or emotionally heavy themes.

Contemporary filmmakers likeDavid Fincherare often regarded as modern inheritors of Hitchcock’s mastery of suspense, demonstrating a similar ability to craft intricate and psychologically engaging thrillers.

• 4.3 Indian Examples of Suspense/Thriller Films with Analysis:Indian cinema has made significant contributions to the suspense/thriller genre, often blending local cultural nuances with established international conventions. The following table provides a selection of notable Indian suspense/thriller films:

Table 1: Indian Suspense/Thriller Films

Drishyam (2013, Hindi):This film, remade in several Indian languages, exemplifies the crime thriller subgenre. The narrative centres around Georgekutty (Vijay Salgaonkar in the Hindi version), a common man who goes to extraordinary lengths to protect his family after his daughter accidentally kills the blackmailing son of a high-ranking police officer. The intricate plot involves elaborate deception and the creation of false memories to establish an alibi, showcasing a compelling “how to get away with murder” scenario. The film explores themes of family protection and the moral compromises a person might make under extreme pressure. It also subtly highlights the class conflict between the unassuming protagonist and the powerful Inspector General of Police.

Kahaani (2012, Hindi):This mystery thriller follows Vidya Bagchi, a pregnant woman searching for her missing husband in Kolkata during the Durga Puja festival. The film masterfully builds suspense through Vidya’s relentless investigation, culminating in a shocking twist ending that reveals her true identity and motive: avenging her husband’s death in a terrorist attack. Kahaani is notable for its strong female protagonist and its atmospheric portrayal of Kolkata as an integral character in the narrative.

Andhadhun (2018, Hindi):This black comedy thriller revolves around Akash, a seemingly blind pianist who becomes entangled in a murder mystery . The film is characterized by its unpredictable plot twists, moral ambiguity, and the unreliable nature of its narrator. The dark humour and the clever integration of music into the narrative further enhance the film’s suspenseful and engaging quality. The audience is constantly kept guessing about Akash’s true level of blindness and his involvement in the unfolding events.

Raatchasan (2018, Tamil):This psychological thriller focuses on Arun, an aspiring filmmaker turned police officer, as he pursues a serial killer who targets schoolgirls. The film excels in creating a tense and suspenseful atmosphere, exploring themes of psychological manipulation and the lasting impact of trauma. The narrative follows the determined rookie cop as he delves into the dark psyche of the killer.

Woh Kaun Thi? (1964, Hindi):A classic mystery thriller, this film features Dr. Anand who encounters a mysterious woman on a stormy night, only to find his fiancée bears an uncanny resemblance to her. The film blends elements of gothic horror and film noir, creating a suspenseful and eerie atmosphere heightened by its iconic music and the enigmatic performance of Sadhana. The narrative plays with themes of identity and the supernatural.

Khamosh (1986, Hindi):Set against the backdrop of a film shoot in Kashmir, this whodunit mystery follows the investigation into the murder of a starlet. Notable for its lack of traditional Bollywood musical numbers, the film offers a suspenseful plot with dark humour and provides a glimpse into the inner workings and potential darkness within the film industry itself.

5. In-depth Analysis: Romance

• 5.1 Theories of Romance in Film:The narrative structure of romance films often adheres to a recognizable pattern. Many classic romantic comedies, for instance, follow a three-act structure that includes the “meet-cute,” the introduction of obstacles that challenge the budding relationship, and finally, the resolution where the couple ultimately finds their way to each other. The “meet-cute” is the initial encounter between the protagonists, often a serendipitous or humorous event that hints at their underlying chemistry. The central portion of the film typically involves various obstacles, both internal and external, that test the strength of their connection. The resolution usually involves a dramatic turning point, often a grand romantic gesture or a heartfelt confession of love, leading to a happy or at least satisfying conclusion.

The narrative arc of a romance can also be analysed through the lens of the hero’s journey, where the quest is replaced by the development of the romantic relationship. The core need in a love story is often connection, and the narrative frequently traces a journey from initial dislike or indifference to deep affection, a spectrum often described as “hate to love”. Common plot points along this journey include the initial meeting of the lovers, their first kiss or intimate connection, a confession of love, a period of separation or breakup, a significant act that serves as proof of love, and the eventual reunion of the couple.

Feminist perspectives on the romance genre offer critical insights into its representations of gender. Laura Mulvey’s concept of the “male gaze” is particularly relevant, suggesting that women in film are often objectified and presented as spectacles for a heterosexual male viewer. This perspective raises questions about how romance films might perpetuate traditional power dynamics and limit female agency. However, Jenny Crusie argues against a purely critical view, suggesting that romance fiction (and by extension, film) can often reflect and reinforce the realities of women’s lives, empowering them and validating their desires for meaningful relationships. She contends that these narratives often contradict patriarchal norms.

Psychological theories also help explain the audience’s engagement with romance films. Viewers often form strong emotional connections with the characters and their romantic journeys. However, research by Carrie Smith indicates that repeated exposure to idealized portrayals of romance in films can sometimes lead to unrealistic expectations in real-life relationships, particularly regarding concepts like soulmates and love at first sight.

• 5.2 Key Critics and Thinkers and their Views:Laura Mulvey’s foundational work on the “male gaze”has significantly influenced feminist analysis of the romance genre. Mulvey argued that in mainstream cinema, including romantic films, women are often positioned as objects of desire for the male protagonist and the presumed male viewer. This objectification, she suggested, limits the narrative agency of female characters and reinforces patriarchal ways of seeing. She also explored the implications of this gaze for female spectators, who might find themselves either identifying with the active male gaze or experiencing a sense of alienation from the passive female image on screen.

In contrast,Jenny Crusieoffers a more appreciative perspective on romance fiction (and film). She argues that rather than simply reinforcing patriarchal structures, romance narratives often centre women’s experiences, desires, and agency. Crusie suggests that these stories can validate women’s emotional lives and provide empowering reflections of their realities, often contradicting traditional norms and celebrating female strength and capability.

Carrie Smith’s research highlights the potential influence of romance films on audience expectations. Her work suggests that viewers who frequently watch romance movies, especially those depicting highly idealized relationships, may develop unrealistic beliefs about the nature of love and romance in the real world. This can include the belief in soulmates, love at first sight, and the idea that love can conquer all obstacles without significant effort.

Other critics have also examined the romance genre, with some focusing on its tendency to reinforce traditional gender roles and others analysing its evolution to include more diverse and complex representations of relationships. Directors like Nora Ephron and Richard Linklater have been noted for their contributions to the genre, often exploring modern relationships with wit and insight.

• 5.3 Indian Examples of Romance Films with Analysis:Indian cinema boasts a vast and diverse collection of romance films that have captivated audiences for decades. Here is a table featuring some key examples:

Table 2: Indian Romance Films

Dilwale Dulhania Le Jayenge (1995, Hindi):Often abbreviated as DDLJ, this film is a cultural phenomenon and a quintessential Bollywood romance. It tells the story of Raj and Simran, two Non-Resident Indians (NRIs) who fall in love during a trip to Europe. The film beautifully portrays the clash between traditional Indian family values and the more individualistic Western culture, with Raj ultimately choosing to win over Simran’s father rather than eloping. The enduring chemistry between Shah Rukh Khan and Kajol, coupled with its memorable music, has made it one of the most beloved and longest-running films in Indian cinema history.

Jab We Met (2007, Hindi):This romantic comedy follows the unexpected journey of Geet, a vivacious and talkative young woman, and Aditya, a heartbroken businessman, who meet on a train. Geet’s carefree spirit helps Aditya rediscover his zest for life, while Aditya provides unexpected support to Geet. The film is celebrated for Kareena Kapoor’s lively portrayal of Geet and the charming chemistry between the lead pair. It’s a refreshing take on the classic “opposites attract” trope, emphasizing self-discovery alongside romance.

96 (2018, Tamil):This poignant romantic drama centres on a reunion of high school classmates from the 1996 batch, where two former sweethearts, Ram and Jaanu, reconnect after 22 years. The film delicately explores the nostalgia of first love, the impact of time, and the power of memories as Ram and Jaanu come to terms with their present lives and the paths they have taken. The film is lauded for its mature handling of emotions and the understated performances of Vijay Sethupathi and Trisha Krishnan.

Guide (1965, Hindi):Based on R.K. Narayan’s novel, *Guide* was a ground-breaking film for its time, depicting a relationship between Raju, a charismatic guide, and Rosie, an unhappily married woman. The film explores themes of infidelity and societal expectations, with complex and flawed characters who defy traditional heroic portrayals. Dev Anand and Waheeda Rehman’s performances are iconic, and the film is remembered for its progressive themes and memorable music.

Mouna Ragam (1986, Tamil):This romantic drama tells the story of Divya, a young woman mourning the death of her lover, who is reluctantly forced into an arranged marriage with Chandrakumar. Initially resistant to the marriage, Divya gradually develops feelings for Chandrakumar as they navigate their unexpected relationship. The film explores themes of agency, societal expectations around marriage, and the possibility of finding love in unconventional circumstances. Mani Ratnam’s directorial style and the performances of Revathi and Mohan are highly acclaimed.

Premam (2015, Malayalam):This romantic comedy-drama follows the protagonist, George, through three different stages of his love life, from his teenage years to adulthood. The film offers a relatable and humorous take on the experience of falling in love, facing heartbreak, and ultimately finding happiness. It’s known for its fresh narrative style, endearing characters, and catchy music, capturing the essence of different phases of romantic relationships in a contemporary Indian context.

6. Conclusion

This report has provided an overview of seven prominent film genres – Suspense/Thriller and Romance – defining their key characteristics, exploring relevant theoretical frameworks from film studies, and highlighting the contributions of key critics and thinkers. Through an in-depth analysis of the Suspense/Thriller and Romance genres, with specific examples from Indian cinema, the report has illustrated how these genres are adapted and interpreted within different cultural contexts.

The analysis reveals that film genres are not static categories but are dynamic and often overlapping, evolving in response to cultural, technological, and industrial influences. The study of genre is crucial for understanding the relationship between filmmakers, audiences, and the broader cultural landscape in which films are produced and received. Indian cinema, with its rich history and diverse linguistic landscape, offers compelling examples of how global genre conventions are localized and imbued with unique cultural meanings. The enduring popularity of genres like Suspense/Thriller and Romance in India underscores the universal appeal of narratives that engage our emotions, whether through heart-pounding tension or heartfelt connection. Genre analysis remains a vital tool in contemporary film studies, providing a framework for understanding the complex and ever-evolving world of cinema.

1. Introduction

Genre study constitutes a foundational framework within film studies, providing essential tools for analysing the creation, reception, and interpretation of cinematic works. Film genres, while often exhibiting distinct characteristics, are not static entities and frequently demonstrate fluidity and overlap, reflecting the evolving nature of storytelling and audience expectations. This report aims to define and analyse seven prominent film genres – Suspense/Thriller and Romance– through the application of relevant theoretical frameworks and the examination of critical perspectives. Furthermore, the report will provide specific Indian cinematic examples for the Suspense/Thriller and Romance genres, offering a cultural context to the broader discussion. The structure of this note will involve defining each genre, exploring pertinent theoretical approaches to genre analysis, discussing the views of key critics and thinkers, and finally, analysing selected Indian films to illustrate the specific characteristics of the Suspense/Thriller and Romance genres.

2. Defining the Genres in Film Studies

• 2.1 Suspense/Thriller:The suspense/thriller genre is a broad cinematic category characterized by its primary aim to evoke strong emotional responses in the audience, specifically excitement, suspense, a heightened sense of anticipation, uncertainty, anxiety, and nerve-wracking tension. These films are designed to keep viewers on the edge of their seats as the narrative unfolds. While the terms ‘suspense film’ and ‘thriller film’ are often used interchangeably due to their similar characteristics, a subtle distinction can be observed. Thrillers often employ a faster pace and emphasize action, focusing on the events that occur once a sense of danger or threat has been established. In contrast, suspense films tend to build tension and uncertainty more gradually, creating anticipation in the audience about what might happen. The pacing of the narrative serves as a key differentiating factor between these closely related forms.

Key characteristics frequently found in suspense/thriller films include intricate plot twists, misleading clues known as red herrings, narrators whose reliability is questionable, and cliffhangers that leave the audience in a state of unresolved tension. High stakes are typically involved, with the protagonist often facing menacing situations and significant danger. A common narrative device is the withholding of crucial information from the viewer, which contributes to the overall sense of unease and anticipation. Common thematic concerns within this genre encompass terrorism, political conspiracies, pursuits, murder, various forms of crime, and psychological intrigue. A frequent narrative pattern involves innocent, often unsuspecting, victims who find themselves confronting deranged adversaries. The suspense/thriller genre also encompasses a range of subgenres, including action thrillers, which blend high-stakes action with suspense; comedy thrillers, which incorporate humour into suspenseful scenarios; conspiracy thrillers, where the protagonist confronts powerful, hidden enemies; crime thrillers, which focus on suspenseful accounts of criminal activities; erotic thrillers, where sexual relationships play a crucial role in the plot; and psychological thrillers, which emphasize the mental and emotional states of the characters. These subgenres often demonstrate hybridization with other broader film categories, such as science fiction and horror, further expanding the thematic and stylistic possibilities within the suspense/thriller genre.

• 2.2 Romance:The romance genre in film centres on the exploration of love and romantic relationships between characters, forming the core of the narrative. The plot typically revolves around the affectionate and passionate involvement of two main protagonists. Common themes explored within this genre include the initial spark of love at first sight, the complexities of forbidden love, the emotional entanglements of love triangles, acts of sacrificial love, the intensity of passion, the development of intimacy, and the establishment of deep emotional connections. Romance films often delve into various issues and challenges that arise within the context of love. The emotional journey of the characters typically involves the initial formation of a romantic bond, the emergence of conflict or obstacles, and the eventual resolution of these challenges. The overall tone of romance films can vary significantly, ranging from light-hearted and joyful to deeply emotional and tragic. The romance genre encompasses a diverse array of subgenres, including chick flicks, often targeted towards female audiences and featuring light romantic themes; historical romances, set in the past and often involving epic love stories; paranormal romances, which incorporate supernatural elements into romantic relationships; romantic comedies, which blend humour with romantic narratives; romantic dramas, which explore the more serious and complex aspects of love and relationships; romantic fantasies, which integrate elements of fantasy into romantic plots; romantic musicals, where song and dance are integral to the romantic storytelling; and romantic thrillers, which combine elements of romance with suspense and danger. The cyclical presence of romance films throughout cinema historyunderscores its enduring popularity while also demonstrating its capacity to adapt to evolving audience preferences.

3. Theoretical Frameworks of Film Genres

The study of film genres is approached through various theoretical frameworks, each offering unique insights into their nature and function. Thestructuralist approachexamines genre by identifying recurring patterns, conventions, and codes that are common across films within a particular category. This perspective emphasizes the shared elements that define a genre and distinguish it from others. Thehistorical approachviews genres as dynamic entities that evolve and transform over time, influenced by shifts in cultural values, technological advancements in filmmaking, and the changing tastes of audiencesfor thriller;for romance]. Genres are not static but rather adapt to the social and industrial contexts in which they are produced.

Another key concept is that ofgenre as a contract between filmmakers and audiencesfor thriller]. Audiences come to films with certain expectations based on their understanding of genre conventions. Filmmakers often operate within these established frameworks, either fulfilling or subverting these expectations to create particular effects. Theauteur theoryalso intersects with genre studies, focusing on the director as the primary creative force behind a film. Auteurs may work within specific genres, using the conventions as a foundation for their personal style and thematic concerns, or they may deliberately challenge and reinterpret genre normsfor thriller;for romance]. For example, Alfred Hitchcock’s distinctive style and thematic preoccupations are readily identifiable within the thriller genre.

Feminist film theoryoffers a critical perspective on genre, particularly concerning the representation of women. This approach examines how genres may reinforce or challenge societal gender norms and power structures. For instance, the portrayal of women in romance and thriller films has been a subject of extensive feminist analysis;. Finally,psychological approachesexplore the emotional and cognitive responses that genres evoke in viewers. For example, the suspense and horror genres are often analysed in terms of their ability to tap into and play upon audience anxieties and fearsfor thriller;for romance]. The feeling of suspense itself engages the brain and elicits a range of emotions in the viewer.

4. In-depth Analysis: Suspense/Thriller

• 4.1 Theories of Suspense and Thriller:A fundamental theory in understanding the suspense/thriller genre revolves around the distinction between suspense and surprise, famously articulated by Alfred Hitchcock. Hitchcock posited that suspense is generated when the audience is aware that something bad is going to happen, creating a sense of anticipation and dramatic irony, as they possess information that the characters do not. This foreknowledge makes the audience active participants, anxiously awaiting the inevitable. In contrast, surprise is a moment of shock that occurs without prior audience awareness. Hitchcock believed that emotion is crucial to suspense, differentiating it from mere curiosity, which is often the driving force behind mystery narratives. The pacing of a film also plays a significant role in defining its nature as either suspenseful or thrilling. Suspense typically relies on a slower build-up of tension, allowing the audience’s anticipation to grow. Thrillers, on the other hand, often employ a more rapid pace, focusing on the unfolding of events and confrontations once the danger has been established. Indeed, thrillers are often characterized by their rapid progression, while suspense is marked by its gradual accumulation of tension. Key elements that contribute to the creation of suspense include the manipulation of time, the introduction of uncertainty about the outcome, the clear articulation of what is at stake for the characters, and the eventual payoff or resolution of the suspenseful situation. Uncertainty is particularly vital for maintaining suspense, as it keeps the audience invested in the potential outcomes.

Charles Derry, in his seminal work “The Suspense Thriller,” offers a more academic definition, focusing on suspense thrillers as crime films that deviate from the traditional detective narrative. Derry highlights that these films typically feature non-professional criminals or innocent victims as protagonists, rather than conventional law enforcement figures. A core event frequently observed in the thriller genre is the “Hero at the Mercy of the Villain,” which represents the climax of the narrative where the protagonist’s safety and well-being are most severely threatened. This moment often underscores the high stakes of the conflict and the potential for the protagonist’s ultimate failure or damnation.

• 4.2 Key Critics and Thinkers and their Views:Alfred Hitchcockremains the most influential figure in the study and practice of the suspense/thriller genre. His understanding of how to manipulate audience emotions was profound. He differentiated suspense from surprise, emphasizing the audience’s informed anticipation of impending doom as the key to creating a truly gripping cinematic experience. Hitchcock developed numerous filmmaking techniques specifically designed to generate suspense. These included the strategic use of subjectivity, where camera movements and angles mimic a character’s point of view, drawing the audience into their perspective. He also believed in providing the audience with crucial information that the characters lacked, thereby heightening the tension as viewers anticipate the characters’ eventual confrontation with the unknown danger. The use of montage, a sequence of short shots, allowed Hitchcock to control the timing of revelations and subtly convey information while withholding key details, thus engaging the audience’s imagination and building suspense. He also advocated for keeping the narrative relatively simple and linear to maximize its dramatic impact and avoid audience confusion, and for developing characters with unpredictable personalities to defy clichés and keep the audience guessing. Hitchcock also employed the “MacGuffin,” a plot device that serves as the object of desire or motivation for the characters but is ultimately insignificant to the overall narrative. Furthermore, his films frequently explored the darker aspects of human psychology, including themes of sexuality, voyeurism, guilt, punishment, paranoia, and obsession. Hitchcock often placed seemingly ordinary individuals, whom he referred to as the “vulnerable everyman,” into extraordinary and life-threatening situations, often as a result of mistaken identity or wrongful accusation. His theory of proximity, using camera distance to control the intensity of emotions, was another key element of his directorial style.

Robin Woodmade significant contributions to film criticism, particularly in the realm of horror, which he saw as closely related to the thriller genre. Wood co-organized the influential “American Nightmare” horror film festival, which aimed to elevate the critical understanding of the genre. His central theory, “the return of the repressed,” posits that the monsters and threats in horror and thriller films function as allegorical representations of societal fears, anxieties, and the elements that society seeks to repress or marginalize. In essence, Wood’s succinct formula is that normality is threatened by the monster.

Charles Derryprovided a more structured and academic analysis of the suspense thriller genre. His work categorized thrillers into several subgenres based on their primary thematic concerns, such as the thriller of murderous passions. Derry also explored the psychological impact of these films on viewers, investigating the seemingly paradoxical enjoyment derived from experiencing anxiety and fear in a controlled cinematic setting.

Martin Rubinoffered a perspective on the inherent difficulties in precisely defining the “Thriller” genre due to its broad and often vague nature. He emphasized that thrillers tend to prioritize action, suspense, atmosphere, and the elicitation of intense feelings like suspense, fright, mystery, exhilaration, excitement, speed, and movement over more introspective or emotionally heavy themes.

Contemporary filmmakers likeDavid Fincherare often regarded as modern inheritors of Hitchcock’s mastery of suspense, demonstrating a similar ability to craft intricate and psychologically engaging thrillers.

• 4.3 Indian Examples of Suspense/Thriller Films with Analysis:Indian cinema has made significant contributions to the suspense/thriller genre, often blending local cultural nuances with established international conventions. The following table provides a selection of notable Indian suspense/thriller films:

Table 1: Indian Suspense/Thriller Films

Drishyam (2013, Hindi):This film, remade in several Indian languages, exemplifies the crime thriller subgenre. The narrative centres around Georgekutty (Vijay Salgaonkar in the Hindi version), a common man who goes to extraordinary lengths to protect his family after his daughter accidentally kills the blackmailing son of a high-ranking police officer. The intricate plot involves elaborate deception and the creation of false memories to establish an alibi, showcasing a compelling “how to get away with murder” scenario. The film explores themes of family protection and the moral compromises a person might make under extreme pressure. It also subtly highlights the class conflict between the unassuming protagonist and the powerful Inspector General of Police.

Kahaani (2012, Hindi):This mystery thriller follows Vidya Bagchi, a pregnant woman searching for her missing husband in Kolkata during the Durga Puja festival. The film masterfully builds suspense through Vidya’s relentless investigation, culminating in a shocking twist ending that reveals her true identity and motive: avenging her husband’s death in a terrorist attack. Kahaani is notable for its strong female protagonist and its atmospheric portrayal of Kolkata as an integral character in the narrative.

Andhadhun (2018, Hindi):This black comedy thriller revolves around Akash, a seemingly blind pianist who becomes entangled in a murder mystery . The film is characterized by its unpredictable plot twists, moral ambiguity, and the unreliable nature of its narrator. The dark humour and the clever integration of music into the narrative further enhance the film’s suspenseful and engaging quality. The audience is constantly kept guessing about Akash’s true level of blindness and his involvement in the unfolding events.

Raatchasan (2018, Tamil):This psychological thriller focuses on Arun, an aspiring filmmaker turned police officer, as he pursues a serial killer who targets schoolgirls. The film excels in creating a tense and suspenseful atmosphere, exploring themes of psychological manipulation and the lasting impact of trauma. The narrative follows the determined rookie cop as he delves into the dark psyche of the killer.

Woh Kaun Thi? (1964, Hindi):A classic mystery thriller, this film features Dr. Anand who encounters a mysterious woman on a stormy night, only to find his fiancée bears an uncanny resemblance to her. The film blends elements of gothic horror and film noir, creating a suspenseful and eerie atmosphere heightened by its iconic music and the enigmatic performance of Sadhana. The narrative plays with themes of identity and the supernatural.

Khamosh (1986, Hindi):Set against the backdrop of a film shoot in Kashmir, this whodunit mystery follows the investigation into the murder of a starlet. Notable for its lack of traditional Bollywood musical numbers, the film offers a suspenseful plot with dark humour and provides a glimpse into the inner workings and potential darkness within the film industry itself.

5. In-depth Analysis: Romance

• 5.1 Theories of Romance in Film:The narrative structure of romance films often adheres to a recognizable pattern. Many classic romantic comedies, for instance, follow a three-act structure that includes the “meet-cute,” the introduction of obstacles that challenge the budding relationship, and finally, the resolution where the couple ultimately finds their way to each other. The “meet-cute” is the initial encounter between the protagonists, often a serendipitous or humorous event that hints at their underlying chemistry. The central portion of the film typically involves various obstacles, both internal and external, that test the strength of their connection. The resolution usually involves a dramatic turning point, often a grand romantic gesture or a heartfelt confession of love, leading to a happy or at least satisfying conclusion.

The narrative arc of a romance can also be analysed through the lens of the hero’s journey, where the quest is replaced by the development of the romantic relationship. The core need in a love story is often connection, and the narrative frequently traces a journey from initial dislike or indifference to deep affection, a spectrum often described as “hate to love”. Common plot points along this journey include the initial meeting of the lovers, their first kiss or intimate connection, a confession of love, a period of separation or breakup, a significant act that serves as proof of love, and the eventual reunion of the couple.

Feminist perspectives on the romance genre offer critical insights into its representations of gender. Laura Mulvey’s concept of the “male gaze” is particularly relevant, suggesting that women in film are often objectified and presented as spectacles for a heterosexual male viewer. This perspective raises questions about how romance films might perpetuate traditional power dynamics and limit female agency. However, Jenny Crusie argues against a purely critical view, suggesting that romance fiction (and by extension, film) can often reflect and reinforce the realities of women’s lives, empowering them and validating their desires for meaningful relationships. She contends that these narratives often contradict patriarchal norms.

Psychological theories also help explain the audience’s engagement with romance films. Viewers often form strong emotional connections with the characters and their romantic journeys. However, research by Carrie Smith indicates that repeated exposure to idealized portrayals of romance in films can sometimes lead to unrealistic expectations in real-life relationships, particularly regarding concepts like soulmates and love at first sight.

• 5.2 Key Critics and Thinkers and their Views:Laura Mulvey‘s foundational work on the “male gaze”has significantly influenced feminist analysis of the romance genre. Mulvey argued that in mainstream cinema, including romantic films, women are often positioned as objects of desire for the male protagonist and the presumed male viewer. This objectification, she suggested, limits the narrative agency of female characters and reinforces patriarchal ways of seeing. She also explored the implications of this gaze for female spectators, who might find themselves either identifying with the active male gaze or experiencing a sense of alienation from the passive female image on screen.

In contrast,Jenny Crusieoffers a more appreciative perspective on romance fiction (and film). She argues that rather than simply reinforcing patriarchal structures, romance narratives often centre women’s experiences, desires, and agency. Crusie suggests that these stories can validate women’s emotional lives and provide empowering reflections of their realities, often contradicting traditional norms and celebrating female strength and capability.

Carrie Smith‘s research highlights the potential influence of romance films on audience expectations. Her work suggests that viewers who frequently watch romance movies, especially those depicting highly idealized relationships, may develop unrealistic beliefs about the nature of love and romance in the real world. This can include the belief in soulmates, love at first sight, and the idea that love can conquer all obstacles without significant effort.

Other critics have also examined the romance genre, with some focusing on its tendency to reinforce traditional gender roles and others analysing its evolution to include more diverse and complex representations of relationships. Directors like Nora Ephron and Richard Linklater have been noted for their contributions to the genre, often exploring modern relationships with wit and insight.

• 5.3 Indian Examples of Romance Films with Analysis:Indian cinema boasts a vast and diverse collection of romance films that have captivated audiences for decades. Here is a table featuring some key examples:

Table 2: Indian Romance Films

Dilwale Dulhania Le Jayenge (1995, Hindi):Often abbreviated as DDLJ, this film is a cultural phenomenon and a quintessential Bollywood romance. It tells the story of Raj and Simran, two Non-Resident Indians (NRIs) who fall in love during a trip to Europe. The film beautifully portrays the clash between traditional Indian family values and the more individualistic Western culture, with Raj ultimately choosing to win over Simran’s father rather than eloping. The enduring chemistry between Shah Rukh Khan and Kajol, coupled with its memorable music, has made it one of the most beloved and longest-running films in Indian cinema history.

Jab We Met (2007, Hindi):This romantic comedy follows the unexpected journey of Geet, a vivacious and talkative young woman, and Aditya, a heartbroken businessman, who meet on a train. Geet’s carefree spirit helps Aditya rediscover his zest for life, while Aditya provides unexpected support to Geet. The film is celebrated for Kareena Kapoor’s lively portrayal of Geet and the charming chemistry between the lead pair. It’s a refreshing take on the classic “opposites attract” trope, emphasizing self-discovery alongside romance.

96 (2018, Tamil):This poignant romantic drama centres on a reunion of high school classmates from the 1996 batch, where two former sweethearts, Ram and Jaanu, reconnect after 22 years. The film delicately explores the nostalgia of first love, the impact of time, and the power of memories as Ram and Jaanu come to terms with their present lives and the paths they have taken. The film is lauded for its mature handling of emotions and the understated performances of Vijay Sethupathi and Trisha Krishnan.

Guide (1965, Hindi):Based on R.K. Narayan’s novel, *Guide* was a ground-breaking film for its time, depicting a relationship between Raju, a charismatic guide, and Rosie, an unhappily married woman. The film explores themes of infidelity and societal expectations, with complex and flawed characters who defy traditional heroic portrayals. Dev Anand and Waheeda Rehman’s performances are iconic, and the film is remembered for its progressive themes and memorable music.

Mouna Ragam (1986, Tamil):This romantic drama tells the story of Divya, a young woman mourning the death of her lover, who is reluctantly forced into an arranged marriage with Chandrakumar. Initially resistant to the marriage, Divya gradually develops feelings for Chandrakumar as they navigate their unexpected relationship. The film explores themes of agency, societal expectations around marriage, and the possibility of finding love in unconventional circumstances. Mani Ratnam’s directorial style and the performances of Revathi and Mohan are highly acclaimed.

Premam (2015, Malayalam):This romantic comedy-drama follows the protagonist, George, through three different stages of his love life, from his teenage years to adulthood. The film offers a relatable and humorous take on the experience of falling in love, facing heartbreak, and ultimately finding happiness. It’s known for its fresh narrative style, endearing characters, and catchy music, capturing the essence of different phases of romantic relationships in a contemporary Indian context.

6. Conclusion

This report has provided an overview of seven prominent film genres – Suspense/Thriller and Romance – defining their key characteristics, exploring relevant theoretical frameworks from film studies, and highlighting the contributions of key critics and thinkers. Through an in-depth analysis of the Suspense/Thriller and Romance genres, with specific examples from Indian cinema, the report has illustrated how these genres are adapted and interpreted within different cultural contexts.

The analysis reveals that film genres are not static categories but are dynamic and often overlapping, evolving in response to cultural, technological, and industrial influences. The study of genre is crucial for understanding the relationship between filmmakers, audiences, and the broader cultural landscape in which films are produced and received. Indian cinema, with its rich history and diverse linguistic landscape, offers compelling examples of how global genre conventions are localized and imbued with unique cultural meanings. The enduring popularity of genres like Suspense/Thriller and Romance in India underscores the universal appeal of narratives that engage our emotions, whether through heart-pounding tension or heartfelt connection. Genre analysis remains a vital tool in contemporary film studies, providing a framework for understanding the complex and ever-evolving world of cinema.