The memorialisation of the Partition of the Indian subcontinent in 1947 through popular cinema is the theme of this paper. Both in India and Pakistan, cinema as a cultural production wields immense influence in the lives of the people and mainstream cinema has been deeply affected by Partition.

"This paper attempts to delineate and focus on the common narrative thread running through subsequent cinematic treatises on the situation of women during the Partition, particularly those kidnapped and sexually violated during the vivisection. It proposes to construct a cultural and memorialized history of the Partition through a reading of mediated representations of literary engagements with the event, particularly the narrativization of the cinematic trope of the ‘radicalized’ Muslim and his involvement in the abduction of “chaste” Hindu women during the cataclysmic event.

The 1947 Partition of India has recently re-emerged as a thematic concern of many South Asian films about nationalism in popular and parallel cinema. These films invoke the 1947 Partition in both productive and troubling ways: they connect it to the contemplation of the role of religion in the contemporary nation-state, and of the impact of religious ethnicity, terrorism and gender on the experience of citizenship in both India and Pakistan.

"Partition history and the fiction related to it have been the focus of many studies in the past two decades. The reasons are manifold: the need to go back to one's roots, the growing interest of India and Pakistan in each other's cultures, finding parallels, drawing upon common issues and a constant endeavor to reconcile with the past which includes understanding 'history' and its relation with Nation.