Aborting Kashmeer, erasing Kashmir: A trajectory of storytelling and political censorship in India

Abstract

Departing from the extensive internet shutdown (2019–2021) that the Indian government imposed on the annexed state of Jammu and Kashmir, this essay traces a historical trajectory of Kashmir’s invisibilisation in India’s popular imagination. Focusing film and television serial productions from the 1960s onwards, my argument proceeds from the forming of the cinematic master narrative on Kashmir towards the forcefully aborted TV serial Kashmeer (2003). I contend that in order to understand the large public acceptance both of Kashmir’s annexation and its digital closure, we need to engage a more capacious conceptualisation of censorship that captures the variety of its political influences in everyday entertainment and its formative role for audiences. Moving beyond the official interference with imagery and story lines (through the Central Board of Film Certification, CBFB), I examine on the one hand, how the visual framing of Kashmir, and its absence, has been dependent on a structurally, ideologically and economically shifting televisual field that bore interlinked modes of vertical/state and horizontal/populist censorship as well as manipulative corporate intervention. On the other hand, in conjuncture with these conditions, I argue for a stronger consideration of the functional significance, at specific historical moments, of different formats and genres in fictitious storytelling, whose respective logics of production and consumption are themselves carriers of emancipative opening and closure.