D Madhava Prasad helps to embed the feudal family romance in a metonymic chain, a symbolic register in which the principal figure of the romance enters and becomes subject. Thus in both these films, the imaginary relation between husband and wife as represented at the end of segment A is subjected to a disruption in order to break the imaginary fullness and force the subject to enter the symbolic network, where a final resolution will have to be achieved. This allegory of real subsumption has, however, proposed, at the very beginning, a solution to the disruption that it will enforce. The fragment B, as noted above, brings to the fore the question of narrative enunciation. Indeed, in a field (of popular cinema) where the enunciative function was non-existent as a problem, the wilful juxtaposition of fB and A abruptly introduces the problem. In the process, it also posits an enunciator, invisible but not insignificant. The fragment that menaces the pastoral segment thus also contains the supreme ideological reassurance: that there is an other who directs the unfolding of the new order. Not just the director, Santoshi or Mani Ratnam; nor even the efficient army which captures the terrorist in Roja's fB or the benign doctor of Domini — but one for whom they are all surrogates — the other in whom we trust when we trust in capitalism. Presented to the study week on ^Making Meaning in Indian Cinema' at the Indian Institute of Advanced Study, Shimla, October 1995.1 thank the participants of the study week for their comments. This is still a working paper. REFERENCES Balibar, Etienne and Immanuel Wallerstein, Race, Nation, Class., Verso, London, 1991. Bharucha, Rustom, 'On the Border of Fascism: Manufacture of Consent in Roja', Economic and Political Weekly, 4 June 1994. Chakravarthy, Venkatesh and M.S.S. Pandian, 'More on Roja', Economic and Political Weekly, 12 March 1994. Chatterjee, Partha, Nationalist Thought and the Colonial World, Oxford University Press, Delhi, 1986. Jameson, Fredric, The Political Unconscious, Cornell University Press, Ithaca, 1981. Madhava Prasad, "Cinema and the Desire for Modernity', ]pwma\ of Arts and Ideas, Nos. 25/26, December 1993. ——— The State and Culture: Hindi Cinema in the Passive Revolution, Ph.D. Dissn., University of Pittsburgh, 1994. Marx, Karl, Capital, Vol. 1, Vintage, New York, 1977. Niranjana, Tejaswini, "Integrating whose Nation? Tourists and Terrorists in Roja', Economic and Political Weekly, 15 Jan. 1994, pp. 79-82. Rosen, Philip, Narrative Apparatus Ideology, Columbia University Press, New York, 1986. Vasudevan, Ravi, "Other Voices: Roja Against the Grain', Seminar, 423, November 1994, pp. 43-47. Zizek, Slavoj, The Sublime Object of Ideology, Verso, London, 1989. Number 29