ABSTRACT

Ideology and cinematic representation are crucially linked even though a film’s positioning of itself with respect to dominant state ideology may differ thus contesting the idea that films always serve as ideological state apparatus. In this context, the paper reflects on the complex ways in which the ideological positioning – advertently or inadvertently – of cinematic representations of Partition in Hindi films of the 2000s interacts with dominant state ideology to frame the relationship between self and other with the terms denoting India/Hindu and Pakistan/Muslim, respectively. Through an analysis of the representation of the India–Pakistan border in four films – Pinjar (2003), Veer-Zaara (2004), Uri: The Surgical Strike (2019) and Kya Dilli Kya Lahore (2014) – the paper argues that mainstream Hindi films are largely reflective of the state ideology, although to varying degrees and at times in spite of themselves. In contrast, a low-budget film as Kya Dilli Kya Lahore completely subverts the dominant ideology through its sensitive but incisive critique of the border.

摘要

意识形态和电影表现之间有着至关重要的联系，尽管电影对于主导国家意识形态的定位可能不同，从而质疑电影总是充当意识形态国家机器的观点。在这种情况下，本文反思了 2000 年代印地语电影中对“分裂”的电影表现的意识形态定位（有意或无意地）与占主导地位的国家意识形态相互作用的复杂方式，以用表示印度的术语来构建自我与他人之间的关系。 /印度教和巴基斯坦/穆斯林，分别。通过分析印巴边境在四部电影中的表现——Pinjar (2003)、Veer-Zaara (2004)、Uri: The Surgical Strike (2019) 和Kya Dilli Kya Lahore (2014)——该论文认为，主流印地语电影在很大程度上反映了国家意识形态，尽管程度不同，有时不由自主。相比之下，一部像Kya Dilli Kya Lahore这样的低成本电影通过对边界的敏感而尖锐的批评，彻底颠覆了主流意识形态。