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Jazirah Cinta mengisahkan perjalanan hidup seorang pemuda jebolan pesantren yang miskin harta, tapi kaya jiwa, dalam mencari hakikat kehidupan dan. They may be involved in prayer (as in Cinta Segitiga [Love Triangle, ]), .. ), Cahaya Cinta Pesantren (Loving Light of the Islamic Boarding School. TOKOH UTAMA WANITA NOVEL CAHAYA CINTA PESANTREN KARYA IRA The PDF file you selected should load here if your Web browser has a PDF.
Unlike in the majority of contemporary film advertisements, he is depicted as having been in the act of uttering remembrances zikir , albeit interrupted by the activities of the young man by his side.
Figure A man with prayer beads and a Qur'an in Mencari Hilal Only mosques have remained common in representations of Islam in Reform-era film advertisements. Indeed, these are found in a wide range of advertisements—particularly for films with explicitly Islamic themes—with examples from 99 Cahaya di Langit Eropa , Sang Kiai , and Surau dan Silek presented in Figure 11 below.
Unlike fashion markers, representations of these mosques and other places of worship have remained diverse, with architectural styles reflecting their individual societies.
These are discussed herein. In the positioning of Islam relative to Indonesia's other five recognized religions Protestantism, Catholicism, Hinduism, Buddhism, and Confucianism , as well as relative to other ideologies, there has been a considerable shift. As mentioned above, film advertisements produced under the New Order government were careful to embrace audiences of all religious backgrounds.
Some advertisements sought testimonials from non-Muslim viewers who were respected in their fields, as in the quotations offered above. Others positioned these films using more universal appeals; one advertisement for Al-Kautsar, for example, cited a religious scholar named Kyai Haji Misbach as saying that persons of all religions should see the film for its depiction of the struggle between morality and immorality.
This, and other similar practices, was certainly influenced by the socio-cultural context of the time. Such a tendency, however, is less evident in advertisements released in the Reform era. Advertisements for films marketed as Islamic no longer bear testimonials from non-Muslims, or from individuals who present them as conveying universal values. Characters likewise tend not present attributes of non-Islamic religions; for example, the poster for 3 Hati Dua Dunia Satu Cinta 3 Hearts Two Worlds One Heart, , a film on interfaith relationships, does not show her wearing a cross necklace despite it being present in the film Figure This reflects a general tendency in Indonesian film advertisements, where symbols of non- Islamic religions have become uncommon.
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Where present, such symbols have often been in advertisements for films explicitly promoting interfaith harmony, such as? Even before this film code was passed, it is apparent that inclusivity was expected in material intended for public, popular consumption, as seen in advertisements for Al- Kautsar Opposition of Islamic and non-Islamic attributes in Kiamat Sudah Dekat and The Power of Love Representations of the relationships between specific understandings of Islam and other understandings or even other ideologies have been somewhat more diverse.
Both advertisements position characters with Islamic fashion markers as diametrically opposed to persons who seemingly embrace other systems of belief.
In the former, a calm veiled woman, implicitly linked to the metaphor of womanhood as a flower through her rose, is placed opposite a rocker wearing chains and sunglasses; below them, a man in a skullcap is diametrically opposed a youth in a baseball cap whose hands form the 'sign of the horns' common in heavy metal culture.
Meanwhile, in the latter, a set of four well-kempt Muslims in white attire, headscarves, and skullcaps are set opposite individuals whose fashion markers suggest them to be, respectively, a person of poor personal grooming, a business executive, a Chinese woman, and a thug preman. The distance between them is underscored by the central pillar of the National Monument in Jakarta, a visual barrier between them.
In other advertisements, tension is still present, yet not presented as starkly. The poster for Surga yang Tak Dirindukan An Unwanted Paradise, , for example, depicts a veiled woman in a pink jacket, standing next to a young man and smiling. Behind them, in the distance, is an unveiled woman in a tight shirt and jeans, seemingly upset at their happiness. This contrast indicates a degree of tension between them, which is expanded upon in the film. This transformation, from veiled to unveiled, suggests a tendency towards viewing homogenization as a means of preventing conflict.
Such 9 In the Surga yang Tak Dirindukan, the character Mei Rose is presented as becoming pregnant out of wedlock and as 'stealing' a woman's husband, ultimately becoming his second wife.
There is a tendency in Indonesian films for the women who commit extramarital affairs and become pregnant outside of wedlock to be presented as not wearing headscarves; a similar case is found in Assalamualaikum Beijing , although the advertisements for that film do not depict the character in question. Page 71 Figure The veiling of Mei Rose between Surga yang Tak Dirindukan and Surga yang Tak Dirindukan 2 Other film advertisements have been more inclusive in positioning films' understandings of Islam relative to other understandings and ideologies.
Some advertisements, such as those for Catatan Akhir Kuliah Notes from the End of University, and Hijab , for example, depict women and, in the former, men wearing a wide range of fashion markers interacting as equals Figure The former depicts young women in headscarves, interacting in a university setting with women who are not veiled, including one with exposed shoulders and another in business attire.
In the latter, meanwhile, four women are depicted standing on a stage together, smiling. The clothing of each woman is indicative of a different understanding of the requirement to cover one's private areas, or aurat and, by extension, a different understanding of Islam. Although tension is suggested by their presentation as mannequins, this tension is not between the women themselves, but rather between them and the persons holding the strings.
Building on a previous study that focused solely on the Suharto era Woodrich, , it has shown that, during the Suharto era, film advertisements used diverse markers such as turbans, skullcaps, headscarves, language, the Qur'an, prayers, prayer beads, mosques, and the Kaaba to project an Indonesian Islamic identity. This identity was shown, through commentary from explicitly identified non-Muslims and emphasis of universal values, to be non-exclusive, even as religious themes only being emphasized in films that prominently featured Islam suggests the religion received positioning in contemporary Indonesian popular discourse.
Meanwhile, Islam was positioned as having diverse practices, but ultimately uniting all Muslims in a shared faith. Meanwhile, during the Reform era, film advertisements have used somewhat less diverse markers.
Fashion markers such as turbans, skullcaps, and headscarves, as well as markers such as Jurnal Komunikator Vol. In the Reform era, understandings of Muslim masculinities and the position of women have shifted, with men becoming more urbane and women being more commonly depicted in the public sphere. However, at the same time, there has been a tendency—especially in advertisements for films classified as film Islami—towards increased homogenization in the representation of specific Muslim.
In some cases, specific Islamic identities Page 72 have even been placed in direct opposition to other identities. This discussion indicates that, as Islam has enjoyed continued—or even strengthened— special positioning in Indonesian discourse, there has been a trend in Indonesian film advertising towards representing it as more exclusive.
Even when diverse ideologies and understandings of Islam are implied in advertisements, this does not extend to religious minorities as it did to some extent under the Suharto government. This indicates that film advertisements, as with the films they advertise, are sites of discourse on issues of Indonesian religious identity and the role of religion in everyday life.
Galih dan Ratna. Hijabers in love. Darihati Films. Catatan akhir kuliah. Demi Gisela Citra Sinema. Kiamat sudah dekat. Dipa Jaya Film. Si Pitung beraksi kembali. Sajadah Ka'bah. Falcon Pictures. Haji backpacker. Negeri van Oranje. Firman Abadi Film. Menggapai matahari II. Fullframe Pictures. Cahaya cinta pesantren.
Usia Gemini Satria Film. Anak-anak buangan. Haka Film.
Kutukan Nyai Roro Kidul. Hanna Internasional Film. Kamasutra Film. Jakarta, Jakarta. Kaninga Pictures. Bid'ah cinta. Legacy Pictures and Screenplay Films. Surau dan silek. Iqro: Petualangan meraih bintang. Matari Artis Jaya Film.
Permainan bulan Desember. Maxima Pictures. Assalamualaikum Beijing. MD Pictures. Ayat-ayat cinta.
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Di Bawah lindungan Ka'bah. Surga yang tak dirindukan. Ayat-ayat cinta 2. Surga yang tak dirindukan 2. Panggilan Ka'bah. Mizan Productions. Multi Buana Kreasindo et al. Multivision Plus Pictures.
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Sang kiai. Rhoma Irama Film. Satria bergitar. Page 73 Sippang Jaya Film. Sippang Jaya Film. SinemArt Pictures. Ketika cinta bertasbih. Ketika cinta bertasbih 2. Deteriorate values were over most and tempered Ralph's justify in evil to commit his own personality at the other end of the wise.
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Hong Kong University Press. However, unlike in the Suharto era, these Arabic-language loan words are not presented in an Arabic script, instead following the standard Indonesian-language transliteration. Most of them were between thirty and sixty years old.