This article analyses the ways in which new audiovisual technologies may organise and challenge patterns of seeing for purposes of political mobilisation and ideological indoctrination. The context is that of the Hindu Right, with particular reference to the Ayodhya controversy. Focusing on God manifests Himself, a video produced by Jain Studios in New Delhi (1989/1990), the complex question of representation is discussed with reference to two key principles that inform the audiovisual rhetoric of Hindu nationalism. First, the video demonstrates that the Hindutva politics of representation is based on the technique of ‘intervisuality’, whereby meaning emerges from the dynamic interplay of aesthetic and symbolic spaces and social practices. Second, Hindutva rhetoric relies on the use of ‘wish-images’, through which imaginary ‘think-spaces’ are opened that enable its ideologues to generate ideas of a crisis-ridden imagined community of Hindu nationals against the backdrop of a Golden Age and a utopian future. This includes the stereotypical fixation of the ‘Muslim Other’. The article investigates the role of popular culture and religio-political practices as well as stylistic aspects of docu-drama, montage and special effects.
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