A significant new development in the field of Indian family and kinship, and one which has so far barely been addressed in the sociology of India, is the internationalisation of the middle-class family. This paper analyses two popular Hindi films of the mid-1990s, Dilwale dulhania le jayenge (DDLJ) and Pardes, that thematise the problems of transnational location in respect of courtship and marriage. The two films share a conservative agenda on the family, but differ in their assessment of the possibility of retaining Indian identity in diaspora. DDLJ proposes that Indian family values are portable assets, while Pardes suggests that the loss of cultural identity can be postponed but ultimately not avoided. These discrepant solutions mark out Indian popular cinema as an important site for engagement with the problems resulting from middle-class diaspora, and for articulation of Indian identity in a globalised world.
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