Afterword

Abstract

Allow me to begin this afterword by invoking two theoretical postulates. They come from different but contiguous universes of culture and representation. However, in being within an overall discursive diagram of secular modernity, perhaps they do have ties of kinship with each other. My objective here is to eventually say a few things about mythic figuration in Hindi popular cinema and its deep but tormented affiliations with an agonistic, Hindu-normative nationalism. I will largely restrict my explorations to the classic, post-independence “All-India Film.”