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If in the past Islamic lms mainly referred to propaganda lms, or lm dakwah, todays discourses use many different names; lm dakwah, lm religi, lm Islam and even lm Islami.
Film Indonesia Islmai Download Citation CopyDownload full-text PDF Read full-text Download full-text PDF Read full-text Download citation Copy link Link copied Read full-text Download citation Copy link Link copied Citations (3) References (52) Abstract This paper aims at exploring certain negotiations that justify Muslims cinematic texts and practices.Furthermore, this paper tries to investigate these questions from a theoretical basis using concepts of Islamic modernity, Islamic Ummah and Public, in order to shed some light on the idea of how a production of an Islamic film may trigger the creation of a political and religious identity.Film Indonesia Islmai For Free Public FullDiscover the worlds research 20 million members 135 million publications 700k research projects Join for free Public Full-text 1 Available via license: CC BY-NC 4.0 Content may be subject to copyright. His research, which is funded by NISIS (Netherlands Interuniversity School for Islamic Studies), focuses on Islamic lms and cinematic practices of Muslims in contemporary Indonesia. Patricia Spyer and Dr. Bart Barendregt. Ahmad Nuril Huda may be contacted at: a.nuril.hudafsw.leidenuniv.nl. Wacana Vol. 14 No. April 2012): 116 Negotiating Islam with cinema A theoretical discussion on Indonesian Islamic lms AHMAD NURIL HUDA Abs tr act This paper aims at exploring certain negotiations that justify Muslims cinematic texts and practices. Furthermore, this paper tries to investigate these questions from a theoretical basis using concepts of Islamic modernity, Islamic Ummah and Public, in order to shed some light on the idea of how a production of an Islamic lm may trigger the creation of a political and religious identity. Ke ywords Indonesian Islamic lm, Islamic modernity, Islamic Ummah and Public. Introduction Over the last ve years, we have witnessed Islams increasing omnipresence in the realm of Indonesian cinema. At present, in Indonesia, Islamic lms with a large variety of themes abound using many ways of mediations and practices. Films picturing Islamic symbols, rituals and values, whether in a propagative ( dakwah ) manner or not, are not only screened in theatres, but also broadcast on TV, available on disks, and may be downloaded from the Internet. As a result, new cinematic practices have emerged in the country. If in the early 1960s many good Indonesian Muslims avoided going to the movies because it was associated with improper behaviour, now a days, even devout Muslims living in pesantren (Islamic boarding house) may attend lms screened in theatres and produce lms of their own. However, at times, certain Muslim groups become aggressively opposed to certain lms to such an extent that they ask the authorities to ban them from public viewing. As Islam does not have lm technology of its own (see Weintraub 2011. This paper, which is based on my on-going research at Leiden University, intends to shine some light on these negotiations. However, since my research is still in its infancy, I will be unable to provide nuanced arguments throughout the paper. To answer these questions, I will focus on the concepts of Islamic modernity, Islamic Ummah, and Islamic public. Before arriving at these concepts, I will rst present a denition of Islamic lm, and provide an introductory landscape of Indonesian Muslims cinematic texts and practices. I think it is also important to say at the outset that, regardless of the fact that the production of Islamic lms, along with other related practices, cannot be seen in isolation from their commercial frameworks, this paper will be limited to the discussion of the cultural practices of Islamic lms in their relations to issues of political and religious identity. On defining Islamic film A lm is only truly Islamic if Islam is the guideline in all the lm mediation practices (Ahmad Sarwat, cited in Van Heeren 2008: 85). One person may regard a lm as Islamic as long as it contains Islamic symbols and cites Quranic verses or the sayings of the Prophet. Someone else may dene an Islamic lm as a lm that contains strong values, morals and deeds that are compatible with Islamic teachings, without necessarily citing Islamic texts. Someone else, still, may apply more strict prerequisites for a lm to be labelled Islamic, as is showed in the above quote from Ahmad Sarwat, an ustadz from shariahonline.com. Furthermore, if we ask the audiences of Indonesian cinema what they regard as Islamic lms, we may never get a single and clear denition of Islamic lms. The same will also be true for lmmakers. This does not mean that there is no such clear thing as Islamic lms. Indeed, Muslim society has a set of ideas in mind about what is Islamic and not Islamic in lms. However, these ideas are primarily discursive and subject to many religious, social, economic and political discourses. My preliminary examination of written Indonesian Muslims cinematic texts and practices reveals that Muslims increasingly care about the idea of Islamic lm.
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