In Between Real and Rhetoric: Kashmir in Indian CinemaIndian cinema which is one f the world’s biggest film industry which creates the world’s biggest film audience. It constitutes of film produced across India, including the cinematic culture of Mumbai along with the cinematic tradition of provinces such as Bengal, Assam, Orissa, Tamil Nadu, Karnataka, Kerala, and Andhra Pradesh. India is the world’s largest film producing country and produce around thousands of film every year. Indian films to a very large extant widespread throughout the world and have been a great influence in the society. The Indian cinema plays a great role in changing the perception of people.When it comes to Bollywood, Kashmir was constantly connected with romance. The beautiful scenic valley and pleasant area and serene of Kashmir caught the eye of Indian film maker. Kashmir which is believed to be one of the most beautiful places on earth is known for its beautiful and natural scenery and verdure throughout the world. Beauty beyond imagination makes Kashmir a paradise. It is not enough to say that Kashmir is beautiful. The wealthy of natural beauty has earned Kashmir “the Switzerland of East”.There are around more than 70 film has been shot in Kashmir valley, but more often Kashmir has been nothing more than a setting for Hindi film makers. The cashmere character and cultures in these films are very minimal with a few exception. Not many had a lead Kashmiri character. Kashmir has been not just only a geographical area for Hindi film makers, it has been an idea. From the 1960’s to 1970’s Kashmir in Indian cinema was known for romance and there is abrubt change from 1989 when the insurgency was started to taken places and now a more militancy projected films were shot by keeping all the real culture and character of Kashmiri’s aside. Kashmiri character were to somewhat restricted to a tourist vision of kashmiri. Kashmiri was presented either a houseboat owner or a tourist guide likely portrayed in the 1965 movie Arzoo. Even in the movie like jab jab phool khile(1965) and Kashmir ki kali(1964) translated as ‘the bud of kashmir’ which had a lead kashmiri character. The presentation of Kashmir was limited absolutely to the scenic location.In a movie like Kasmir ki Kali and Roti(1974) presented the beauty of kashmiri women. The actual culture and character of Kashmir is missing in between the lineof the natural scenery and the romance of Kashmir. The culture which both kalhana and Mirza haider Doughlat had praised was somewhere buried in portrayal of roantic Kashmir and the terrorised Kashmir.Roti tried to replicate the kashmiri traditinaol dress Pheran and a head scarf that was supposed to be the traditional dress of Kashmir. But that was about it, Kashmir and kashmiri culture was somewhat reduced to a scenic set.