India produces more films than any other country in the world, and thesc works are avidly consumed by non-Western cultures in Africa, Eastern Europe, thc Middle East, and by the Indian communities in Australia, Britain, the Caribbean Islands, and North America. Jyotika Virdi focuses on how this dominant medium configures the ‘nation’ in post-Independence Hindi cinema. Shc scrutinizes approximately thirty films that have appearcd since 1950 and demonstrates how concepts of the nation form thc center of this cinema's moral universe. As a kind of storytelling, Indian cinema provides a fascinating account of social history and cultural politics, with the family deployed as a symbol of the nation. Virdi demonstrates how the portrayal of the nation as a mythical community in Hindi films collapses under thc weight of its own contradictions—irreconcilable differences that encompass gender, sexuality, family, class, and religious communities. Through these film narratives, the author traces transactions among the various constituencies that struggle, accommodate, coexist uneasily, or reconstitute each other over time, and in the process, reveal thc topography of postcolonial culture.