Recognising the excruciating pain and trauma the Partition of India has newline caused to the lives of the millions of people in the Indian sub-continent, the present newline thesis embarks on to study a hitherto unexplored area concerning Partition studies, newline, construction of marginal identities in Partition films. The present thesis newline contends that the selected Partition films that I taxonomise as Subaltern Partition newline Cinema as a distinct voice from the mainstream Bollywood cinema, depict Partition newline history in a radically different way than that of the official, colonialist and nationalist newline historiographies, giving voice to the subalterns of Indian Partition; like women, newline Dalits, minorities, and refugees. Taking Rosenstone s views on the relationship newline between film and history as a springboard, it considers cinema as a significant newline medium to engage with Partition history, and attempts to foreground how cinematic newline narratives and practices can be vital resources for rethinking Partition history. newline Subaltern Studies methodology has been used to demarginalise the subaltern newline experience in the selected film texts; an attempt is made to study the structure and newline dynamics of film language concerned with the representations of history, memory, newlineviolence (abduction, rape, killing), in the selected films. The methodology of the newline research work involves an in-depth mise-en-scene analysis and other formal newline aspects of film semiotics wherever possible. The thesis attempts to retrieve the newline subaltern historiography of Partition of India as it emerges from the selected films; newline newlinefurther, to see such subaltern revisioning of history as alternative forms of history newline and as counter-narratives to the perspectives of mainstream history. The analysis new line of the sufferings of the subaltern identities as portrayed in the selected films entails newline a critique of the communal nationalism in South Asia. The post-Partition Hindi new line cinema can be seen as a site of cinematic heterotopia to dispel the dominant newline nationalistic perceptions about 1947 perpetuated by the conflicting terrain, Link - hdl.handle.net/10603/218667