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ON BEHALF OF THE EDITORS Filming the Line of Control: The India-Pakistan Connection in Hindi Films Editors: Meenakshi Bharat and Nirmal Kumar The post-colonial animosities of India and Pakistan has resulted in a long-running saga of hostility towards each other, resulting in three major wars (1948, 1965, 1971) and one minor battle, popularly called the Kargil War (1999). Animosity towards each other was sown with the brutal violence of India's partition that left millions dead, and thousands of women raped. Yet the topic was not touched upon by post-colonial cinema - most people either too ashamed or too traumatized to speak of their experiences. Making a film on the subject was unthinkable. The political discourse was dominated by calls for nation building and early films reflected these concerns. But the subsequent discourse of animosity and cultural antagonism found its way into the cinematic text, manifesting itself in various ways - from cultural shadowboxing to open Pakistan-bushwhacking. While films up to the early 70s were content working within the framework of nationalism and patriotism, it was Hindustan Ki Kasam (1973) that clearly identified Pakistan as the enemy. Following this, many films, both balanced and biased, hits and flops, used Pakistan as central theme or a central reference point. Most of these evidenced a deep hatred for the enemy nation. However, some recent films have deviated from this norm. Films such as Main Hoon Naa (2004) portray Pakistan rather more neutrally if not positively. At the same time, a few years ago, the rabid film Gadar (2001) was released to box-office success. The current political situation has seen a thaw in relations between the two countries, and both sides have slightly opened their iron gates for cultural and academic exchange. We can hope to see more Pakistan friendly films. The recent Yash Chopra hit Veer Zaara (2005) has jettisoned the anti-Pakistan bias to box office success. Moreover, as a state policy, Pakistan is soon to allow the screening of Hindi films. The cultural exchange has been seen at the level of the crossing of actors across the borders. It is against this backdrop that the book attempts to take stock of the past. The editors invite academics to contribute essays to the volume. The broad areas the book covers (but not limited to): - The concept of nationality and nation - Indo-Pak Relations as reflected in Hindi films - Patriotism - War films and the credo adopted/perpetrated by them - Changing language and sensibility-(anti-Pak rhetoric)-Gadar, Aa ab laut Chalen - Terrorism: Mission Kashmir, Fiza, Roja, Bombay, Pukar - Exchange of artists, ideas and music : Henna, Nikah, Mohsin Khan, Nusrat Fateh Ali Khan, Kiron Kher - Video Piracy of films in Pakistan - Prisoner of war films Deewaar, Upkar, Prem Pujari - Depiction of the army-the image - Family ties across the border Mammo Naseem Train to Pakistan Gadar - Partition Literature and films - Popularity of Indian films in Pakistan and among the Pakistani diaspora - Copycat films: Indian films in Pakistan and vice versa - Freedom struggle: The germ of Pakistan Gandhi Hey Ram Each chapter will be 6000-8000 words in length. Please send proposal of 500 words along with your biographical details to: Nirmal Kumar Reader Sri Venkateswara College University of Delhi New Delhi 110 021 [log in to unmask] * * Film-Philosophy Email Discussion Salon. After hitting 'reply' please always delete the text of the message you are replying to. To leave, send the message: leave film-philosophy to: [log in to unmask] For help email: [log in to unmask], not the salon. **