Of the star fuses with that of the terrorist, new possibilities in the realm of affect and signification are inaugurated. Vidhu Vinod Chopra Productions, 2000) is arguably the first star on whose body 2000) and Mission Kashmir, (Chopra in Mission Kashmir. Hrithik Roshan, in his early filmsįiza (Mohammed in Fiza. Of the star collides with that of the terrorist. The terrorist, who was thus far the hero’s antagonist, becomes the protagonist when the body , another set of chronologically overlapping films Running parallel to the soldier-spy films Parth Productions, 2003) become early cinematic experiments in speed, movement and sensation. Time Magnetics, 2003, Jaal: The Trap, Dhanoa in Jaal: The Trap. Indian Movies, 2002, The Hero: A Love Story of a Spy, Sharma in The Hero: Love Story of a Spy. Of Sunny Deol ( Maa Tujhe Salaam, Verma in Maa Tujhe Salaam. The soldier and spy merge into a singular figuration fusing the violent impulse of the former with the itinerant impulse of the latter inaugurating thereby a “new” cinema of action and sensation. ” becomes liberated from the confines of the combat zone and is catapulted onto a transnationalĪrena. This emergent constellation is born when the “war film Whose affective registers reanimate the cinematic image. The Islamist terrorist, both visible and spectral, not only haunts and transfigures the diegetic world of Bombay cinema but inaugurates a new constellation of films The anxiety, dread, horror and fascination set in motion by terror-related violence and death-dealing become the vectors along which cinematic affect begins to travel.
In the aftermath of 9/11, the Islamist terrorist is seen to possess a commanding globalĪnd the capacity to unleash spectacular violence. At the turn of the twenty-first century, the spectre of the Muslim, inexorably bound up with the figure of the Islamist terrorist, triggers a diversity of cinematic engagements in Bombay cinema.
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