Abstract Drawing upon the cinematic narrative of the internationally acclaimed film Khamosh Pani, I relocate the issues it raises within a wider discussion about the gendered nature of conflict between religious communities during the chaos of the 1947 Partition of British India into India and Pakistan. I explore the ways in which state-sponsored Islam in Pakistan impacts the protagonist Ayesha and her son Salim. Further, I explore how the violence of Partition as well as continued violence between Hindus and Muslims is remembered cinematically by Bombay cinema, the dominant cultural institution in the region. Finally, I interrogate Khamosh Pani's reception in India and speculate how it might influence the social constructions of Muslims in South Asia and elsewhere.
Stored only when both papers are in the corpus — 8 citations exist upstream.
Imported from OpenAlex (CC0) — nothing here is generated.