Titlebook: Gender and Islam in Indonesian Cinema; Alicia Izharuddin Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Gender and Islamic

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舉止粗野的人

, at the Cinema: Identifying the Generic Parameters of Islamic Films,son may be learnt from watching the film. These devices have been criticised by prominent Indonesian filmmakers for being too formalistic and superficial in their evocation of Islamic principles. Despite the criticisms, the didactic devices are routinely incorporated into the Islamic film genre alon

強(qiáng)制性

frozen-shoulder

Gender, Islam, and the Nation in New Order Islamic Films,about proto-nationalism and the Indonesian nation. These images thereby represent the gendered dimension of New Order films that, according to Karl Heider, construct ‘Indonesian nation and culture’. Masculinity in New Order Islamic films emphasises the role of men as restorers of order in a morally

摻和

Empowered Muslim Femininities? Representations of Women in Post-New Order ,,strates agency, her body is prominently foregrounded in cinematic narratives and visual codes as a site for Islamic and moral issues. She embodies geopolitical discourse through the veil she wears and her Muslim femininity is defined through suffering and abuse. This chapter, however, makes a case f

性冷淡

性冷淡

Afterword,e the diversity of religious life in Indonesia. These strategies can be discerned from a gendered perspective in which construction of gender in Islamic Indonesian cinema tends to follow a separatist binary model of analysis which divides gender into cis-gendered femininities and masculinities. The

murmur

,Visualising Muslim Women and Men: A Longue Durée,ilmmakers are more inclined to produce narratives that may appeal to the majority of audiences. This may include narratives whose storytelling devices reproduce sexist and titillating material to conform with the assumption that sexual objectification of women sells and that safe images of domestic

宴會(huì)

colloquial