Cinema is really a fascinating subject but Indian cinema popularly called Bollywood is more so due to the peculiar traits of individuals who watch it. Kashmir as a paradise as evoked in films of 1960’s has in a few ways carried over into recent films coping with the Kashmir issue. The historicization of Bollywood’s long Kashmir obsession is thus an exploration of how this obsession fits in to the contested political relationship between Kashmir and the Indian Union.
Films of 1960’s made the Kashmir Valley the room for the expression of a new youthful modernity for urban Indians, especially through the technology of color. Pleasures of those films with the forming of a modern Indian subjectivity, contrasts these pleasures with the mounting political tensions within Kashmir.
It was in 1964 that Kashmir Ki Kali (K3) hit the cinemas as a salad of music, romance and drama; garnished with fresh sprigs of the Kashmiri locale. Kashmir is kali was a musical that presented a trip to Srinagar on a couch. The era of color had brought a sort of vibrancy into movies. Outdoors and their natural colors turned into a rage. The white of snow was much beautiful in a shade movie than grey and grey movies. So K3 was a goody to the moviegoers having its beautiful Kashmiri locations.
In 1999, it was Kargil War that played a unique role for making Kashmir central to the definition Indian national unity. The Kargil episode inspired an initial Post Independent India, which had no time before stood together, shoulder to shoulder, than it did during and for some time following the Kargil Episode. Kargil became the USP of film makers. Although these films didn’t make it big at box office level but they got admiration from all types of people. Advertisement of national pride through films enabled for initially in 52 years, this nation truly united as one, cutting across all barriers of caste, class, creed, and community.
While Bollywood has long projected Kashmir because the eroticized landscape of your head in the social imaginary of Indians’ it was Mani Ratnam’s flamboyant narrative of guns and roses – Roja (1992) – that kick-started a reexamination of Bollywood’s complicity with ‘the trick politics of our desires’ ;.Violence and geopolitics have intervened within Kashmir’s cinematic performance and reception. With the emergence of Kashmiri separatism in 1989, the Valley now supplies a theatre for a new ‘cinepatriotism’ for the romance of Indo-Pak war as opposed to the battle of the sexes (Kabir, 2004a).
Although numerous films were made on Kashmir; it is the modicum of films or none of those films that portrayed indigenous cultural space of Kashmir. The celebrated brotherhood between Kashmiri Pandits and Kashmiri Muslims was never tried to be publicized by film makers. It was only in Jagmohan period in Kashmir, the animosity aroused in non-communal Kashmir. The political structures were structured in a manner that generated communal confrontation in the Valley. The folks who’d lived since centuries harmoniously became the victims of communal politics thus led them to exterminate each other. This phenomenal catastrophe was portrayed in films in enthusiastically without letting people to question the veracity. bigg boss 6 telugu voting poll In fact it is only 10 bad films that Bollywood has had the opportunity to create on Kashmir after 1990’s. If we analyze these films it generates one clear about how a mainstream media represents Kashmir and Kashmiri people. Almost in many of these films Kashmiri’s are either called terrorists or fundamental Muslim’s whose morals and ethic are pre-modern and doesn’t easily fit in this western democratic liberal society. There’s palpable change in titles itself, how a films related with Kashmir started with titles like Kali, Hena and then transformation of titles to Mission Kashmir, Fannah. The changes in the titles clearly signify the loss of innocence and creation of defective place called Kashmir.