Bollywood cinema (Ashis Nandy 1995) is not only based on both expression and representation of reality, but it is also the cultural industry of India. Filmmakers have deployed the medium of film for the purposes (Rosie Thomas 1995) in producing their visualities and intertextuality, becoming the discernible conscience of the nation. The essence of 'Indianization' lies in the way the storyline develops, the crucial necessity for emotion and skillful blending and integration of songs, dances, fights, and other entertainment within the film. Bollywood film structured according to the rules of melodrama require a universe divided between the good/morality and evil/decadence (Rosie Thomas 1995). The construction of good and evil also needs to comply with the nationalistic agenda (Vijay Mishra 2001). This research studies the role of mainstream Indian cinema, popularly referred as Bollywood flicks, in representing peace and conflict in Kashmir. It analyzes films on Kashmir to explore, and reflect on the mediatized role of Indian cinema in Kashmir to understand the social, political, and artistic manifestations of Kashmir and its people through the survey of five films, "Kashmir Ki Kali" (1960), "Roja" (1992), "Mission Kashmir" (2000), "Lamhaa" (2010), and "Haider" (2014) with most recurrent themes and representational trends. The literary study and semiotic investigation of these movies inspect how through different elements peace and conflict represent through Bollywood films.
Fokiya Akhtar, Zayed University, United Arab Emirates
Paper Information Conference: MediAsia2018
Stream: Film Criticism and Theory
Added on Friday, October 12th, 2018
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