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Abstract
This article examines the depiction of the Kashmiri protagonist in three popular Indian films, Roja (1992), Mission Kashmir (2000), and … Yahaan (2005), in order to argue for a new emphasis, cumulatively evident through these films, on the Kashmiri as Muslim in the history of Bollywood's long engagement with the Valley of Kashmir. In analysing closely the visual, narrative, cinematic and affective aspects of this development, and in contextualising it against global and local politics of Islam, the article aims to contribute to a better understanding of how Kashmir, and Islam, while topics with separate discursive genealogies within Bollywood, have converged decisively at a certain historical juncture so as to open up new possibilities for the ideological co-optation of the Kashmir conflict, and the place of Muslims in India, by the popular cinematic apparatus.