This thesis is based on a detailed examination of the entire canon of Hindi language film, which deals with Pakistan. It chooses film as an important and understudied aspect of popular culture, that both represents and influences wider society, and which has not been analysed in the same way as other source material. The analysis is divided into three main themes. The first, where Pakistan is part of the Self, and is used for a form of introspection on Indian society. This is a genre of films that do not focus on the India-Pakistan issue, but on what the existence of Pakistan has meant for the Indian imagination and consequently, the Indian polity. In the second set of films Pakistan is framed as the Hostile Other, the very existence of the Other is villainous or evil, unjustified, or this Other is patronized, as still having to attain a maturity that can be taught by India/Indians. There are Ambiguous tropes which are open to more subjective interpretation, I view them as falling between themes, rather than amounting to a separate theme on their own. Finally, there are films where this Other is Embraced through a recognition of a common subcontinental/South Asian identity, or through rejection of the forces in power, which seek to divide; there is also a romantic exoticization. and a desire for Peace. Each theme carries within it, its own contradiction, as most films, even while expressing a dominant theme, do so through presenting a variety of tropes and strands and portrayals, and even each detailed trope may carry internal contradictions. There is the Self, the Other, and the Embrace, and each carries within itself its own contradiction.