KABHI INDIA KABHIE SCOTLAND

Abstract

This article examines the recent phenomenon of popular Indian films shot on location in Scotland. It explores what is to be gained by Scotland and India from this arrangement, both financially and culturally. In contrast to critics who maintain that Scotland is framed in films like Kuch Kuch Hota Hai (1998) and Kandukondain Kandukondain (2000) as a fantasyland, I argue that it is rendered specifically as a tourist destination, in a manner that reflects the agendas of both nations. I then examine Pyaar Ishq aur Mohabbat (2001), a recent film shot almost entirely on location in Scotland, to see how it frames Scotland slightly differently. I focus on its depiction of Scotland's Non Resident Indian (NRI) community, exploring how it uses location to negotiate their identity. I demonstrate how, although it retains an emphasis on Scotland's recognisable tourist locations, it also deploys certain locations to depict NRI identity as part of the global Indian middle class.

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