Gender and Islam in Indonesian Cinema, Softcover reprint of the original 1st ed. 2017 Gender, Sexualities and Culture in Asia Series

This 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 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 changes and upheavals in Indonesia?s modern history and projects images of the nation through the debates on gender and Islam. The text also sheds light on broader debates and questions about contemporary Islam and gender construction in contemporary Indonesia. Offering cutting edge accounts of the production of Islamic cinema, this new book considers gendered dimensions of Islamic media creation which further enrich the representations of the 'religious' and the 'Islamic' in the everyday lives of Muslims in South East Asia.

Gender and the divine pleasures of the cinema.- Dakwah at the cinema: identifying the generic parameters of Islamic films.- Visualising Muslim women and men: a longue durée.- Gender, Islam and the nation in New Order Islamic films.- Empowered Muslim femininities?: representations of women in post-New Order film Islami.- Poor, polygamous but deeply pious: Muslim masculinities in post-New Order film Islami.

Provides the context behind the rise of Islamic popular culture in Indonesia and examines Islam in Indonesia in a globalising world Offers a substantial review of specialist literature on Indonesian media and gender representation and makes a significant contribution to the still nascent literature on ‘Islamic’ cinema in Indonesia Broadens the discussion on the status of Muslim women today - an issue that will generate interest beyond Indonesian Studies and Gender Studies Addresses key issues of censorship, notably in regard to the government’s uneasiness regarding critical representations of Islam, politics, and history