Markers of Islam identified include turbans, skullcaps, headscarves, language, the Qur'an, prayers, prayer beads, mosques, and the Kaaba, all of which were used to portray an Islamic identity that was in some ways highly normative while in other ways quite diverse. It finds that, although explicit symbols of Islamic religiosity were generally not included in film flyers, such depictions could still be found, both in flyers for films intended to preach Islamic values as well as in flyers for films with more general themes.
Using a corpus of 300 film flyers issued between 19, this article examines how Islam was depicted in advertisements for Indonesian films under the Suharto government. Sebaliknya agama publik harus dikembangkan untuk menjadi tempat dimana peran publik agama-agama diakui dan dikembangkan.? Karena itu pemerintah tidak hanya berkewajiban menjamin kebebasan beragama, tapi juga mendorong pertumbuhannya, dengan demikian jelaslah hegemoni agama adalah suatu absurditas, dan tidak memiliki akarnya di negeri ini. Keputusan founding fathers bahwa Indonesia bukan negara sekular seharusnya membebaskan agama dari belenggu untuk hanya ada pada ruang privatnya, sedang penetapan Indonesia bukan negara agama, mensyaratkan tempat terhormat bagi agama. Walau pada dirinya agama itu juga mengandung dua potensi paradoks, yaitu menumbuhkan kekerasan disatu pihak, dan rekonsiliasi dipihak lain, namun revitalisasi agama publik bisa mengikis peranan negatif agama untuk kemudian memaksimalkan peran positif agama-agama itu.Ĭarut marutnya wajah agama publik di Indonesia jelas merupakan suatu anomali, khususnya akibat kekerasan negara terhadap agama. Hal itu terkait misi agama-agama untuk menghadirkan perdamaian sebagai kontribusi positifnya. Kehadiran agama dalam ruang publik merupakan suatu keniscayaan. The representations of Arab others and Indonesian selves eventually lead to contestations of religious authenticity and social class. This implies that self-representations play a crucial role in the ways in which Indonesian Muslims relate to a region, culture and people long viewed as the “center” of Islamic culture. They attribute ideal male and female characteristic features to Asian Islamic identities, while they portray objectionable ones as Arab culture. Ethnographic research with labor migrants and pilgrims, and a cultural analysis of cinematic representations of Indonesian students in Cairo, show that conceptions of gendered moralities feature strongly in the ways in which these particular Indonesian Muslims define their authentic Muslim selves, as distinct from Arab others. This article examines how Indonesian Muslims, who have traveled to and/or resided in the Middle East, construct their social identities in relation to Arab others. In contemporary Indonesia, Muslims increasingly define themselves by othering fellow Muslims, including Arab Muslims. Second, where advertisements in the Suharto era tended to illustrate a dynamicity in discourses on Islamic identity, advertisements in the Reform era have generally promoted a more singular understanding of Indonesian Islamic identity.
First, where advertisements in the Suharto era tended to embrace viewers of all backgrounds, advertisements in the Reform era have often positioned Islam as more exclusive.
However, advertisements differed in two key aspects. Advertisements in both eras used such symbols as turbans, skullcaps, and headscarves, as well as other common symbols of Islam. The use of Islamic symbols became more common during the Reform Era (1998–present), particularly following the rise of the film Islami genre.
It finds that, during the Suharto Era (1966–1998), Islam was generally not represented explicitly in film advertisements however, examples could still be found in advertisements for films intended to preach Islamic values as well as in advertisements for films with more general themes. This article examines how Islam has been depicted in advertisements for Indonesian films over the past fifty years.
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