8 Afriadi 9 states that Ayat-Ayat Cinta precisely advocates polygamy as Of women as passive, inexpressive and dependent. Some people point out that the film advocates polygamy and the stereotypical portrayal Ayat-Ayat Cinta deals with a host of sensitive issues such as Islam’s treatment of women and multiple marriages. It is important to examine the film Ayat-Ayat Cinta for several reasons.įirstly, the film is one of several recent Indonesian films that have encouraged debates among feminist activists and cultural experts concerning the issue of gender relations, with particular reference to polygamy in Islam. This paper attempts to examine the representation of Islam through interpreting the symbols of gender relations within the film Ayat-ayat Cinta (Verses of Love) and is intended to discover the dominant ideology which infiltrates the symbols within the film. During the ‘representing’ process, the hidden ideology will be subtly integrated through the use of symbols which articulate the ideas, and reading these symbols will reveal the messages that are given to the audience film. Is displayed by the way media outlets, such as movies and newspapers, choose to create the work. 1, 2010 M/1431 HĬonservative Islam Turn or Popular Islam? 6 Stuart Hall (ed.), Representation: Cultural Representations and Signifying Practiceġ02 Al-Ja>mi‘ah, Vol. Society an Introduction, (New York: Oxford University Press, 2005), pp. Also: Michael O’Shaugnessy & Jane Stadler, Media and ĥ Michael Haralambos & Martin Holborn, Sociology: Themes and Perspectives (Lon- don: CollinsEducational, 1991). Also see: Muzayyin Nazaruddin, “Islam Repre- sentation in Religious Electronic Cinemas in Indonesia”, research/./CP-MuzayinNazaruddin.pdf, retrieved. 4 Ratna Noviani, “Matikan TV-mu: Agama Vs Media?”, Jurnal Maarif Institute,
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Study of Religion (Tavistock Publication, 1985), p. 3 Clifford Geertz, Religion as Cultural System in Anthropological Approaches to the On the other hand, in the representation process, the dominant ideologyġ994), p.
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Process, the ideology could be internalized while the audience construes the meaning offered by this cultural artefact from all points of view. Theoretically, the dominant ideology can be interpreted through the representation and consumption process. 4 Indeed, gender is not instrinsic for men and women, rather it is constructed by the dominant ideology which is developed from religious and social norms, myth, legends, media and so forth. For example, a woman’s piety is shown by her pursuit of a man or husband and also women are shown to be a source of sins and social problems. 3 The relation between a pattern for behaviour and a pattern of behaviour is located in, and can be interpreted through, symbols, which people enable to understand them.Ĭurrent studies about religious sinetron (soap opera) on Indonesian television networks reveal that the subordination of women is affected by religious (Islamic) values.
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On the other hand, religion alsoĬonstitutes the people’s religious activities in their daily lives. This is because as a cultural system, religion is understood as a pattern for behaviour and pattern of behaviour, as religious values become foundations and references for people’s behaviour. Thus, film is both a creator of and reflection of cultural values, which during the creation of a film interact with power relations of multiple interests.Īccordingly, religion as a cultural system has an active role in contributing to and constructing a film product. (ed.), Television: The Cultural View (London and New York: Oxford University Press,Ĭultural elements of a society are articulated, screened, discussed and negotiated. Newcomb & P Hirsch, Television as a Cultural Forum, in H. 1 Newcomb and Hirsch 2 suggest that film is a cultural forum and a cultural mirror whereġ Graeme Turner, Film as Social Practice (London: Routledge, 1999), p. Films and television programs represent pictures of reality throughĬodes, conventions, myths and the ideology of culture. It is inevitable that works of art, including films or television dramas, are part of cultural systems and are not merely in a vacuum.