The continuing political uncertainty surrounding the disputed region of Kashmir has been represented endlessly in the cinema of India. Yet such is the political complexity of the issue of Kashmir that very few film makers have successfully demonstrated a degree of impartiality that does not simply denigrate all Kashmiri Muslims as cross border terrorists with an undying allegiance to Pakistan. It might even be right to say that the Kashmir conflict has helped to spawn its very own distinct genre, complete with recognisable visual conventions and a familiar formula for mainstream box office success. In the mid 90s, with the rise of nationalist ideology (as exemplified in the political gains made by the BJP) and the continuing persecution of Muslims in much of India, the Kargil stand-off between Pakistan and India brought the two nations close to the edge of yet another war. All of these factors played a real part in fuelling the jingoism of many of the right wing mainstream Kashmiri based films that started to steadily emerge at the beginning of the 90s, eventually culminating in big budget event films with spectacular marketing campaigns like Border (1997), The Hero: The Love Story of a Spy (2003) and Mission Kashmir (2000).
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