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

光亮

天賦

https://doi.org/10.1007/978-1-349-19493-3lence. It is fair to surmise, however, that the tension is not easily resolved as the boundaries that separate commercial entertainment from spiritual reflection within the Islamic film genre are far from definitive.

舊式步槍

Lipoprotein

grounded

Gender and the Divine Pleasures of the Cinema,lence. It is fair to surmise, however, that the tension is not easily resolved as the boundaries that separate commercial entertainment from spiritual reflection within the Islamic film genre are far from definitive.

平淡而無味

臨時抱佛腳

Empowered Muslim Femininities? Representations of Women in Post-New Order ,,d by Muslim men in the service of debates about women and Islam. This chapter also features an analysis of the rise of Islamic film female actors which reveals the intertextual relationship between film and off-screen image that articulates a new moral cinematic aesthetic and regime of representation in post-New Order Indonesia.

吸氣

Book 2017ic popular culture. It considers scholarship on gender in Indonesian cinema through the lens of power relations. With key themes such as nationalism, women‘s rights, polygamy, and terrorism which have preoccupied local filmmakers for decades, Indonesia cinema resonates with the socio-political chang

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2662-7884 substantial review of specialist literature on Indonesian mThis book presents a historical overview of the Indonesian ?lm industry, the relationship between censorship and representation, and the rise of Islamic popular culture. It considers scholarship on gender in Indonesian cinema through the le

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