ABSTRACT

Questions of political allegiance between India and Pakistan have turned Kashmir into one of the most militarised zones in the world. Although antagonism between India and Pakistan vis-à-vis Kashmir is predicated on territorial disputes, the Kashmir Valley since the end of the British rule in India in 1947 has struggled with the contentious issues of identity, freedom, armed intrusions, often resulting in mass murders, and illegal arrests of its people. Although independent documentary film-makers address these issues, and thus offer a complicated history and politics of Kashmir, Iffat Fatima, perhaps as the only independent woman documentary film-maker based in Kashmir, engages a wide-ranging issues including enforced disappearances, politics of memory/remembrance, resistance, neo-national ideologies, ‘states of exception’ in her films. Unlike the usual male dominated conflict zones, protests in Kashmir are characterized by its resisting and protesting women. In boldly articulating Kashmiri experiences through her independent films, Fatima foregrounds women’s participation as an essential aspect of Kashmiri protest producing different outcomes and relations. Situating herself in such a precarious space, Fatima in the interview at hand discusses her filmic self, her engagement with resistance movements in Kashmir, and women’s protest movements in Kashmir.

摘要

印度和巴基斯坦之间的政治效忠问题使克什米尔成为世界上军事化程度最高的地区之一。尽管印度和巴基斯坦在克什米尔问题上的对立是基于领土争端，但自 1947 年英国结束对印度的统治以来，克什米尔山谷一直在与身份、自由、武装入侵等有争议的问题作斗争，经常导致大规模谋杀和非法逮捕其人民。尽管独立纪录片制作人解决了这些问题，从而提供了克什米尔的复杂历史和政治，但伊法特·法蒂玛 (Iffat Fatima) 也许是克什米尔唯一的独立女性纪录片制作人，她涉及范围广泛的问题，包括强迫失踪、克什米尔政治记忆/记忆、抵抗、新民族意识形态、她电影中的“例外状态”。与通常由男性主导的冲突地区不同，克什米尔的抗议活动以妇女的抵抗和抗议为特征。通过她的独立电影大胆阐述克什米尔人的经历，法蒂玛将妇女的参与作为克什米尔抗议活动的一个重要方面，产生了不同的结果和关系。法蒂玛 (Fatima) 将自己置身于这样一个不稳定的空间，在手头的采访中讨论了她的电影自我、她参与克什米尔的抵抗运动，以及克什米尔的妇女抗议运动。