ABSTRACT
This chapter looks at the use of European locations in four generically different films from Bombay. I look at both the operations of a cartographic consciousness on screen as well as the infrastructure, trade, and diplomatic networks that have made the use of these spaces possible. Zindagi (2011) is a road movie that mobilises the typical European vacation to travel by road across Spain’s landscape and sites of leisure. In War (2019), we see the codes of an espionage film that portrays a high-speed international world where borders are porous. London’s iconic views along with the heritage architecture of Dubrovnik are mobilised in Fan (2016) to establish the transnational stardom associated with the film’s protagonist, Shahrukh Khan. Tamasha (2016) takes us on a holiday to Corsica in France to present the unusual romance between a man with a personality disorder and a female traveller. Throughout the chapter, I establish the significant role of cinematic cartography as an infrastructural, aesthetic, spatial, and cultural practice that produces a unique imagination of Europe on screen.
