COMMERCIALISM IN INDONESIAN RELIGIOUS FILMS
THESIS
Submitted in Partial Fulfillment of the requirement for the Degree of
Sarjana Pendidikan
Ririn Kristina 112008151
ENGLISH DEPARTMENT
FACULTY OF LANGUAGE AND LITERATURE SATYA WACANA CHRISTIAN UNIVERSITY
i THESIS
Submitted in Partial Fulfillment of the Requirements for the Degree of
Sarjana Pendidikan
Ririn Kristina 112008151
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Purwanti Kusumaningtyas, M. Hum. Suzana Maria L.A F., M. Hum.
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COMMERCIALISM IN INDONESIAN RELIGIOUS FILMS
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Ririn Kristina Indonesian religious films. The religious films are films that show many Islamic attributes worn by Ustadz and female protagonists. In addition, the research used semiotic analysis technique, and then continued with the theory of commercialism, which used to get the finding of the study. By doing this research, the writer expected that the audience would have better understanding of the use of Muslim attributes. Moreover, the result showed that there was the religiousness’ idea, which is viewed superficially. The way the films transferred a religious idea is shown by wearing Islamic attributes rather than doing religious attitude. Therefore, the audiences have to take care in wearing Islamic attributes, they are allowed to appear attractively, but do not overlook the syari’ah criteria. Moreover, if they want to look religious, they should not only wear those attributes but also follow God’s command.
Key words: semiotic, commercialism, Islamic attributes 1. Introduction
This research is based on the phenomenon of the product that “breathe Islam” are
increase popularly among Muslim. At the beginning of 80s, the using of veil is still limited. Barnard (11) stated that the veil is only wore by certain society, such as cavity Muslim family and Muslim students in pesantren (school of Koranic studies) as the expression of their pursuance on God’s command. Then, at the end of 80s and beginning of 90s, the veil reached
veils became trend and wore veil attained certain prestige. Wearing veil may communicate the desire to be a modern piety people and became modern Muslim. In addition, the veil was blooming in media entertainment, especially in film.
Storey (3) stated that film is an expression of an art is able to bring the moral value to the audiences. Furthermore, the genre of the films is religious, that was expected to bring religious values. The resurrection of religious films started from Ayat ayat Cinta, Ketika Cinta Bertasbih and Dalam Mihrab Cinta. Those films gave the understanding to the audiences that Islamic attributes was not only wore by certain society, but also all of Muslim people can wear it. However, are those films truly Islamic? Commonly, the use of Islamic attributes is misunderstood. Barnard (11) stated that women who wore Islamic attributes felt better than before. Although, it does not mean that they were more piety than women who did not wore Islamic attributes.
The birth of mass media resulted increasingly to the culture of commercialism and entertainment has lead to a variety of issue and interest. Therefore, it gave impression that commercialization was more important than quality. A period when popular culture becomes a key word that was behind this entire phenomenon. In addition, Islamic attributes got noble position and bring people into the typical of consumptive. Islamic attributes collided with a luxury lifestyle, which was symbolized by capitalism. So, this study comes up with a research question How do religious films in Indonesia portray commercialism?
2. Theoretical Foundation 2.1 Films as Popular Culture
need it or not. Satisfaction in any case, in addition the most important is people get something that they want. Popular culture is easy to get because it is everywhere to be gotten, it surrounds us the just way water surrounds a fish, as a transparent environment crucial to our survival. Popular culture is a familiar part of our everyday environment. Consider for a moment, however the clothes people are wearing (mass produced, advertised and sold for profit), the food people eat (from restaurant or grocery store chains), and the television programs that inform and entertain the audience. Popular culture provides what we need and it knows what we want.
According to Nachbar and Lausse (11), said that popular culture has three condition of characteristic, Masses, Money and Mechanic. The first is Masses- A mass culture demands the existence of mass of people whose way of life it reflects and shapes. The population made up from group of people and they created new culture. The second is Money- A significant portion of the new urban masses was able to profit from the industrial revolution to from a new middle class. Therefore, from the group of people that have made new culture, that is kind of production that would be sold and they will get profit from the production that they sold. Their goal is clearly centered on the economy in order to make profits. In addition, the last is Mechanic- the “mechanic” of this new culture refers to the means of communicating it to the monied masses. From the new culture they have created, they spread it using electronic media, such as radio, movies, and television. Therefore, popular culture is commercial. Nachbar and Lausse (15) said, “We have already noted that popular culture is commercial,
From the explanation above regarding to the characteristic of popular culture, films are belonging to Popular Culture. This is because the films are product of human work and thought (culture) that have developed within a community. The product that they sold is not the common products, but products that needed by the audience. In order To fulfill what the audiences need, the producer offer the product (films) through one of the media that they use that is television. The film that presented on television by the producers is now increasingly attractive because it can meet the needs of the audience and the producers used that occasion to make a profit. In addition, purpose of the existence of this product is to make a profit.
In order to meet the needs of the audience and the film does not look so monotonous, so it presented the variety of genres. According to Syahputra (11), He found many film genres; they are action and adventure film, both of them are associated with hyper-activity usually featuring physical clashes and chases. Comedy films, it offers humorous plots. Historical or epic film, it shows fearlessness and heroic exploits be it historical or fictions. Drama films, it tells about real life situation are acted upon. Horror film, this is highly controversial genre in that it derives its entertainment value from instilling fear to the audience. The last is religious film; it shows the religious activities.
2.2 Popular Culture and People
Mindset
According to Nacbar and Lausse at all (24), both arts and rituals they have been built up by the imaginary/created and real icons and heroes that create meaning. The imaginary is not the real things, human makes it but real icon/heroes are things that exist in the world. The example of real icons are Yashmak, mosque, Ka’bah and Egypt and imaginary icons are Doraemon’s door, magic stick, Aladin’s carpet and tree of hope. Besides, the real heroes are
Pangeran Diponegoro, Kartini and Soekarno, and imaginary heroes are Batman, Superman and Spiderman.
The icons and heroes were also formed from the belief and value that have been believed by many people. Icon and hero are the expression of belief and value, where the belief
and value lies in the bottom and from there we can see the mindset of people. Nacbar and Lausse (23) said, Belief and value is a house’s foundation and mindset people that unstable, it means that it still can be changed by the time. As the example is “Macho”, the standard of macho is inconsistent, the past macho is muscular guy, tall and short hair neat, but now macho is identical with bodied fragrance, do not glum, six pack, tall, well built (sturdy). However, different with bedrock belief, the cultural mindset that he means is something that cannot be changed by the time, most stable and longstanding. Examples from past until now that the views of macho had not changed, it tends to masculine. Within the meaning of masculine is well built, six pack bodies, confidence and have strong body (not wan).
2.3The Study of Symbol
According to Barthes (9), semiology is one kind of science that study signs and their associations to something to deliver the message of literature product. In other word, semiology is a theoretical approach that tries to find messages interpretation in term of their signs and patterns of symbolism. It includes the study of how meaning is made and understood. A sign can be a word, like Alhamdullilah, Subhanaalah and masyaalah, a sound it can be music/soundtrack or visual image (object and people). Through Semiology, the writer can identify the meaning of sign that exist in those films.
Then focused on Barthes’ idea, he explained the signification has two steps, they are, Connotation and denotation. Barthes (89) writes that connotation is a term used in semantics as part of classification of types of meaning. He adds that connotation, in its relation with Semiology or semiotic is a system, which includes signifiers and signifieds. Barthes (47) states that signifier is the characteristics that represent something in the literature product, which may have meanings. Usually it is something that can be seen, heard, touched, smelt or tasted. On the other hand, signified is the real thing that is depicted in the literature products. It need not be a 'real object' but is some referent to which the signifier refers Furthermore, to make it clear, a character in the movies is the signifier and signified is the real thing, events or messages that producer of a movie wants to depict in real.
the surface or the overall appearance of the character but also analyzes the detail of the character (the hair, facial expression, suit, etc) Barthes (1985, 92)
2.4 Popular Culture and Commercialism
The consumption of entertainment, like television programs and films are worked over. Desire is motivated through well-calculated promotional effort. Therefore, as commodities, films are paid through advertisement. According to Chambers (6) said that popular culture is commercial in organization and distinctly urban in tone. The commodities of Islam are an Islamic commercialism or changed the faith and its symbols became commodity that is bought and sold for profit.
3. Scope of Study
The films that would be analyzed are religious films; they are Ayat-Ayat Cinta, Ketika Cinta Bertasbih and Dalam Mihrab Cinta. The elements of those religious films that will be discussed are the Islamic attributes, which are the products that indicate Islamic atmosphere/nuance. In addition, Muslim characters (Ustadzs and female characters) wear those products. The writer chose them because in those icons there are existed the products of commercialism.
4. Method
In this method, the writer used semiotic analysis technique and took one of the theories from the Sausure’s follower named Roland Barthes who made a systematic model to
phases is called primary system (denotation) and secondary system (connotation) that which religious atmosphere. The films have two settings, in Egypt and Indonesia. First in Egypt, the writer can see that the films open with the splendor of Egypt that was so great and beautiful. As we know that Egypt is an Islamic predominant country and there was emphasized of Islamic teachings and it is highly respected. There are also the magnificent pyramids views, Cleopatra beach and Al-Azhar University that known as the most prestigious school of Islamic, and its scholars are seen as the highest scholars Muslim in the world.
Second, the setting of this film is also taken in Indonesia, where many religious events are shown in each setting. For instance, it is an Islamic boarding school (in Indonesian it is called “pesantren”). Islamic school of Koranic studies is a place where santriwan and
santriwati (santriwan is term of male student who studied in the Koranic studies, and
santriwati is term of female student) studied and explored the teachings of Islamic. The setting was deliberately chosen Islamic school of Koranic studies for the film to introduce the teaching of Islamic teachings implicitly or explicitly. Besides the Mosque that is used for movie making, as we know the mosque is a place where Islamic people doing worship and gathering places in the Islamic religious occasions.
respectful, a strong faith, smart, devout and good-looking. He is so perfect. Moreover, he can reject the women who idolize him because he is a dream husband figure. Because of his personal characteristic, many women are interested and fall in love with him. In addition, he only chose one of the women who loved him.
There was also female character santriwati (is a term of female students who studied in the Koranic studies) that known as solekhah (it means that they have a strong faith), it can be seen that they closed to religious activities like praying, praising and they were wearing the yashmak all the time. They are beautiful, kind and intelligent women. Having strong faith, high personality qualities are the representation of perfection as a woman.
The stories are about the romance of young people. In addition, the way to find the true love is not something easy indeed and many problems can occur. Usually the formula of the conflict and solution of the films is boy meets girl, a conflict that potentially drives their part. In conflict, the third person is presented to make the story more attractive and it will influence the relationship between that couples who loves each other. The role of third person makes their relationship turn into distance. Then, there is almost no communication between them. Along with time, conflict resolved and finally, they meet again. At the end of the story, they live happily ever after.
Romance films, love conflict is more emphasized than the propaganda. Thus, Al-Azhar education institutions and the glory of Ka’ba are only used as a mere simulacrum, to appear as a propaganda film. This is what Roland Barthes (1985) said about mythos, the films of love, but decoding the message that impressed as religious films.
5.2Symbols in those religious films
The use of Islamic symbols in religious films has become an indicator that the commercialization of Islam became the limelight on television. On those symbols are actually occurred commercializations of the religious values of Islam. A symbol cannot work effectively if there is no ideology inherent in it. However, the symbol will be meaningful if there is a meaning agreement (ideology) that attached to. In this case, Syahputra (33) said, the power of religious symbols is actually the collection of agreements between religious practice and the cultural/social practice through stakeholders (actors or agents) who are in. The ideology that essentially underlines a film is commercialism. The commercialization of Islamic religious values in Indonesian religious films can be seen from the following symbol:
5.2.1 Ustadzs
In Indonesian, Ustadz is a religious model of a Muslim who has a higher position than ordinary people do. In every religious activity, he is the one who is relied on and respected by his people. He is able to lead his people wisely and give them precious advice.
also wears polite dress, which is suggested by religion (wearing Islamic attributes like Koko, Sarong, Skullcap and Turban).
The first analysis is in Ayat-Ayat Cinta’s movie, Ustadz Jalal and Ustadz Usman are represented as old men who speak slowly and sound wise. In their slow speaking they are characterized also the post of advice. For example, at the time, Fahri gave secret love letter from his secret admirer to Ustad Jalal. He told the Ustadz softly and almost unheard that he would think about woman later after he finished his study. He looked so sad and depressed for the woman who fell in love with him. Ustadz Jalal calmed him down, "So that's why we are as Muslem is suggested to get marry. Beside to perfect our faith in Islam, we can avoid calumniation," he said firmly. It means that in his perspective the relationship between man and woman is based on Koran. Therefore, he suggested that Fahri is to get married. Marriage for Muslim is one of the ways to fulfill God's command and avoid people's bad judgment. What Ustadz Jalal said to Fahri touched him and opened his mind. He still remembered what Ustadz Jalal said to him. Several months later, he got married.
To portray Ustadz as a religious person the character is depicted as someone who often says Lafadz in any conversation. Lafadz is kind of expressing contains religious meaning, they are like Alhamdulillah (Thank God), Masyaallah (O my God),
Subhanallah (Glory be to Allah), and Insyaallah (if Allah wills). For example, when Ustadz jalal said, “Istifar Farid, pernikahan itu bentuk ibadah, InsyaAllah akan dibukakan pintu
rezeki kepadamu.” (Istifar Farid, marriage is a form of devotion; InsyaAllah God will give you the livelihood) Actually using Lafadzhas aim to shape human’s behavior in God’s norms.
words is classified as polite person. The same with using Lafadz, moreover it contains religious meaning, people automatically think that person who says using Lafadz must be religious person. Then they who say using Lafadz is more appreciated than secular person. To present a good image or please the environment, someone says Lafadz in his/her utterance. Moreover if these Lafadz are spoken by famous public figures (Ustadz), society think that they should behave like the way religious person behaves or they may will make them as examples and follow the religious people behave.
The other things that the film tries to portray religiosity is the clothing that worn by Ustadz. They often wear Islamic fashions, which are:
Figure 1 Figure 2
Fig. 1. Picture. Ustadz Jalal (1), Ustadz Usman (2)
attributes is religious. Automatically, people think that those attributes are symbol of religiousness. Then through the symbolization of religiosity, people will bring to commercial trick that the marketing people planned. Where actually those symbols are products of fashion that are promoted by Ustadzs who were known as “religious person”. Therefore,
everything that is related to Ustadzs are seemed religious and would be followed by Muslim. Ustadz in Ketika Cinta Bertasbih’s movie, Ustadzs who are presented are those who have low voice and it makes them sound wise. As the example, when Azam came to Ustadz Lutfi’s house to ask a help to get his true love, he spoke softly and steady. Then, Ustadz Lutfi
responded by giving worthy suggestion using his low voice. Actually, the characteristic of the voices are similar, which is slow but not soft. The writer observed that the preaching are common things. However, since he was an Ustadz who lived around in Pesantren and often gave preaching, he looked a wise man. Then, people have opinion that someone who was around in Pesantren and gave preaching was wise, no matter what he preached. Therefore, it is not about the preaching that make them sound wise, but the image as a religious figure.
Ustadz are also known as knowledgeable person to whom ordinary people seek for advice. For example, when Azam asked to preach in Ustadz Lutfi’s pesantren, he preached the messages in Alkikhan passage. He said, “Kalimat yang ditulis oleh Ibnu Alkhirah begitu indah dan menarik”. (The messages were written by Ibnu Alkhirah are precious and
motivating). Then he read a passage in Koran using Arabic and translated into Indonesian:“barangsiapa yang yakin bahwa dirinya merasa tawadhu, merasa rendah hati,
maka berarti ia benar-benar orang yang takabur. Masyaalah begitu halus setan bermain
pada perasaan manusia”. (Whomever who believed that they are tawadhu and modest; they
luar biasa. Penjelasan begitu runut dan dalam. Cuma 2 baris dari kitab Alkikhan yang dia
bacakakan tapi penjelasannya, masyaallah bah… hadish yang ida bacakan begitu pas,
seperti dia hafal ratusan hadish. Azam menjelaskan lebih menarik daripada Abah”. (The
preaching is so great. Although he only reads two sentences from Alkikhan passage, but the explanations, oh my God, clear and deep enough. The read the hadish correctly and he just like already mastered a hundred hadish. The way Azam preaching is more interesting than Abah). It is a proof that he is succeeded in making it appears to people that he is knowledgeable. The writer concluded that actually his preaching does not carry special meaning. However, Azam status as a student in Azhar carried a goods image since Al-Azhar had systematic education and Islamic prestigious school. Moreover, he also preached on pulpit in Pesantren that people viewed as knowledgeable person. As the result, every word he spoke was seemed knowledgeable.
To show the religiosity of Ustadzs, they stay on God’s command. They really know
what they should do and not do. As the example of Ustadz Azam, when he rejected the French kiss from Aliana, he said, “That is not mukhqrim (kind of forbidden) for man and woman who were not married do kissing”. Although it is hard to reject the French kiss from
the beautiful and rich girl like Aliana, however he still kept his convention to stay on the rules. He knew all of the consequences that he would get if he kissed Aliana, which is sin.
Figure 3 Figure 4 Figure 5
Figure 6 Figure 7
Fig. 2. Picture. Ustadz Azam (3), Ustadz Lutfi (4), Ustadz Mujar (5), Ustadz Ali (6), Ustadz Ilyas (7)
Ustadz Lutfi who he is the leader of Pesantren, he wore turban that is usually wrapped on his those attributes are mostly worn by young Ustadzs, those have more designed variation and looked so fresh. Then through the symbolization of religiosity, people especially for young Muslim will bring to commercial trick that the marketing people planned. Therefore, everything that is related to Ustadzs are seemed religious and would be followed.However, actually the case is the Ustadzs only use the product of fashion.
In Dalam Mihrab Cinta’s movie, Ustadzs who speak loud and distinct made them sound wise. For example, after doing preaching Ustadzs Samsul talked to Silvi’s father about
Furkhon who is a captious person. In their conversation, Ustadz Samsul spoke slowly in warning Silvi’s father to consider his desire to marry Silvi with Furhon.
The additional characteristics of Ustadzs who are represented in this film are they who are reflective person who can see his own mistakes and then ask for apology. For instance from Ustadz Mahbub, he felt guilty when he did not do tabayun (corroboration) before the judgment of one of his students (Samsul) in Pesantren. As the leader of Pesantren,
he apologized humbly to Samsul’s family, because of his mistaken attitude.
Figure 8 Figure 9
Fig. 3. Picture. Ustadz Mahbub (8), Ustadz Samsul Hadi (9)
Skullcap and koko, have kind of motif and design. Last is turban that is usually wrap on Ustadz Mahbub’s neck and has line motif. They may look religious by wearing those
attributes because besides it included religiousness standard clothing, it also worn when they did religious activities like praying or preaching on pulpit. Then those attributes become a symbol of religiousness, which is substantively just the product of fashion that put on an Ustadz. Moreover, Muslim will bring to commercial trick that marketing planned.
5.2.2 Female Protagonists
The characterization of female protagonist in the film Ayat-Ayat Cinta is female who speaks softly and slowly. Aisya has that kind of voice and the way she talks is soft and calm. When she talked to her uncle about Fahri, she asked who Fahri is by using her soft and calm voice. Moreover, the way she speaks is pleasant which is not fast and sounds clear. Then her uncle answered with his steady voice
Another Muslim female character in Ayat-Ayat Cinta movie who is calm and not brutal, is Noura. When her stepfather committed crimes on her, she did not fight back. She just kept silent and defenseless, she did not dare to rebel. In addition, she knew that her stepfather would torture her more, if she was rebel. In addition, when Noura was brought to the prostitution, she could not escape. Moreover, when someone touched her chin, she was silent and looked down.
The Ayat-Ayat Cinta movie tries to show the Muslim woman clothing or attributes through female character.
Fig. 1. Picture: Aisha; Turki-Jerman Muslim (1), Noura; Egypt Muslim (2), Nurul; Indonesian Muslim (3)
Aisya in Ayat-Ayat Cinta wore cadar (veil put on to cover a woman’s face) and veil. The kind of veil and cadar are the symbols of her firmness (Al-Quran chapter Al-Ahzab, verse 59). She wore them because she wanted to keep her body and her face until she found her husband. Therefore, no one can see it, except her husband. When Aisya engaged to Fahri, her mother asked her to open the cadar and allowed Fahri to see. For the reason that, it is an authority of her prospective husband. In addition, after Aisya and Fahri became a couple, she could open her cadar and veil. It is an evidence that cadar is the symbol of her firmness. In showing Aisya’s firmness, the motif and color of the veil is plain. According to QS.
An-Nur(24):31, The veil is not in colorful design that make it attractive. However, the Aisya veil has line motif, which is the combination of red and purple. The color in Aisya’s veil aimed to
show the beauty and the motif, so it was elegant and beautiful. It is not only about the clothing that is promoted, but also the part of physical appearance. Aisya has oval face, so the kind of veil is fit with her face. For it is not only about the clothing that is promoted, but also about the part of physical appearance. Aisya has oval face and usually the kind of clothing
was combined with kind of her face. Therefore, if Islamic women want to look beautiful like Aisya, they can buy Aisya veil and cadar’s model.
Noura in her veil style wore the veil to cover her head. It is a symbol that she obeyed God’s rules that wearing veil is an obligatory of Muslim woman. It should be thick and gown
(QS An Nuur: 31), but she wore the thin and tight veil that twisted on her neck. Therefore, the parts of shoulders are visible. Noura wore the thin and motif veil to show the veils’ beauty.
It is not only the veil that promoted, but also the physical appearance. She has oval and chubby face, so she wore the veil model to show her beauty. Therefore, if Islamic women want to look beautiful like Noura, They can buy and try to imitate the Noura veil’s style. Buy
that kind of veil and imitate the way she wore.
Nurul in her veil style wore the veil to cover her head. The kind of veil is a symbol of her subservience to God because it is an obligation of Islamic woman. She wore the Islamic syari’i standard, which the veil must be gown, and does not show the body shape. She wore
the gown ornament veil that is kind of lace line and twisted on her neck. In addition, it is aimed to show the beauty and attractiveness of the veil. Again, it is not only the clothing/veil that is promoted, but also the physical appearance. Look at the shape of her face; it was oval and rather square. By wearing that kind of veil which fit with her face, she looked elegant and beauty. It gave the impression to the audiences, for those who want to look elegant like Nurul, they can buy the veil and imitate the Nurul style.
culture and her knowledge about Islam is still limited. On the other hand, sometimes she looked less polite because she talked too fast and loud. Once, when someone named Azam helped her, she would like to give a gift, which is French kiss. Then Azam who was religious person rejected the gift. Moreover, he said that is not muqhrim for woman and man who have not married do kissing. However, Eliana regarded the French kiss as common thing, because she has been affected by western culture. Then one day, Eliana changed her appearance into a woman wearing a veil and the way she speaks was different. The way she speaks was soft and slow. She looks polite and what she said is not pointed to something awkward but she has started using the lafadz by saying asalamualaikum and wasalaualaikum in greeting.
To portray the religiosity of Muslim women, they used Lafadz in any conversation. The most common Lafadz that they used are assalamualaikum (opening conversation),
wassalamualaikum (closing), alhamdullilah (thanks God) and insyaalah (if Allah wills). For example, when Anna said, “Isnyaallah, if the thesis research is completed, I will be back to
do my master degree session.” Those lafadzs have aim to show the human behavior in God’s
norm. Anna may look religious by using those words; it because of Lafadz is included religious meaning. As the result, person who said using Lafadz will be appreciated as a religious person.
Fig. 2. Picture: Anna Altharunnisa (4), Eliana Pramesthi Alam (5), Ayatul Husna (6), Vivi (7)
Anna in her veil style wore the veil to cover her face. She wore it because she obeyed the God’s command. Moreover, she wanted to show her awareness as an Ustadz’s daughter who lived in Pesantren. She wore the Islamic standard clothing. The Anna’s veil has motif
grey and blue color. Then there is an ornament, furrow line and kind of ribbon in front side, which is aimed to show the attractiveness of the veil. For it is not only the veil that is promoted, but also the physical appearance. Anna has oval face and she wore the long veil.
Figure 13 Figure 14
Figure 15
Therefore, she looks elegant and beautiful. Thus, if Islamic woman want to look attractive like Anna, they can buy the veil of Anna style.
At first Eliana did not wear the veil, but she wears the veil now. She wore it because she wanted to study Islam deeper. Furthermore, she tried to obey God’s command. In
wearing veil standard, the veil should be thick and gown. However, she wore the thin and tight veil that is twisted on her neck, and some part of the veil fold on the front. Distinctly we can see the shape of the neck and the part of the shoulder are not covered. Eliana’s veil was attractive, because it has purple color and veil’s ornament.
By displaying the gaudy veil and putting ornament on it made the veil look beauty, attractive and elegant. It is not only the veil that is promoted but also the physical appearance. Eliana is a beautiful woman who has oval face. Moreover, she was fit with her veil’s style. Therefore, she looked attractive and elegant. It is inspired the audiences, if they want to look attractive like Eliana, they can buy kind of veil and imitate the way she wore.
In Husna veil style, she wore the veil to cover her head. It is a symbol of her subservience to God of the obligation as a Muslim woman. As a Muslim woman who obeyed to God’s rule, the veil she wore should be in a form of a gown for the purpose to cover her
sex appeal. However, Husna wore the veil that cover on her right shoulder but the right one is visible. In addition, the Husna’s veil has brown color and has the ribbon ornament on each veil’s side. The veil’s style is attractive and beautiful. Actually, it is not only the veil that is
promoted but also the physical appearance. Husna has oval face and the wide chin, and she wore the suitable veil’s style, so she looked attractive and gorgeous. It is an inspiration for the
Vivi wore veil to cover her head. However, she did not wear the Islamic veil standard. According to QS. An-Nur(24):31, the veil is not permitted to have design or over decorated with gaudy color that make it attractive. However, she wore double veil, which the first veil is pink color inside and combined to the second square motif veil outside. The two veils combination added the attractiveness and uniqueness of the veil. In short, the veil and the physical appearance are promoted. Vivi has oval face and pointed chin, then she wore veil that put the front part of the veil is merged to the right shoulder. She looked beautiful, elegant and gorgeous with her veil style. She wore the suitable veil’s style; therefore, she looked attractive and gorgeous. It is an inspiration for the audiences. If they want look attractive, they should buy the veil and imitate the Vivi veil’s style.
Female protagonists in Ketika Cinta Bertasbih are characterized as women who speak soft and slow, like Silvie. When she was talking to Samsul after pengajian (listening to Ustadz’s speech), she talked in a soft and slow way. In addition, she never talks quickly nor
loudly. Besides, she speaks in a proper way, which means the way she speaks is not fast and loud.
To show the religiousness, female protagonists were using lafadz in any conversation. They always used Assalamu’alaikum and Wa’alaikum Salam to greeting, Alhamdulillah
(thanks to God), Astaghfirullah (ask Allah forgiveness) or Ina Lillahi Wa Ina Ilayhi Raajioon
("To Allah we belong and unto Him is our return", is said immediately upon hearing of the death of a Muslim). For example when Nadiah met her brother named Samsul, she said, “Astaghfirullah mas Samsul, ternyata mas benar benar ada ditempat ini”. (Oh my goodness,
in Islam. Therefore, if someone who speaks using Lafadz, she/he will be appreciated as a religious person.
Female protagonist is characterized as a polite woman. Husna is a polite woman, it can be seen when she complained her uncle who did not do tabayun before the punishment. She was angry because her uncle dropped out none of the pesantren student and sent him into the jail. Although she was angry and disappointed, she can control her emotions. From the way she sits, it can be seen that she kept polite. As usual, the angry people used their gesture to express their feeling, for example, they could not sit down and spoke loudly. However, Zizi who was polite, she could control her self.
The other things that the film tries to describe the religious side of female protagonists are from the clothing or Islamic woman attributes.
Fig. 3. Picture: Silvie (8), Zitna Ilma/ Zizi (9), Husna (10)
Silvie with her physical appearance wore the veil to cover her head. She wore the veil because she wanted to obey the God’s rule. In wearing veil standard, the veil should be thick
and loose. However, she wore the tight veil that put inside the clothes. The veil that she wore was purple, has embroidery motif and completed with the ornament that putting on the left neck. That kind of veil is aimed to add the beauty of the veil. It is not only the veil that is promoted, but also the physical appearance. Silvie has oval face and pointed chin, and she wore veil that put on inside the clothes appropriately. Furthermore, she looks perfect and elegant. Therefore, if Islamic woman want to look attractive like Silvie, they can buy the veil of Silvie style.
Zizi in her veil style, she wore the veil to cover her head. She wore it because she wants to show her identity as an Ustadz’s daughter who lived in pesantren. Moreover, she
wore the Islamic veil standard. However, she wore the tin and tight veil, which some part of the veil is putting on the right shoulder, so the left side of her clothing is visible. Zizi wore
the pink veil that has ornament on her right shoulder. She was pretty with her veil. It is not only the veil that is promoted, but also the physical appearance. Husna has oval face and the wide chin, and she wore the suitable veil’s style, so she looked elegant and attractive. It is an
inspiration for the audiences, if they want to look elegant, they can buy the veil and imitate the Zizi’s veil style
Husna with her veil style, she wore the veil to cover her head. It is a symbol her subservience to God’s rule since it is covered her sex appeal. Furthermore, she wore the veil like Zizi’s veil style.
6. Conclusion
From the discussion above, the result shows that the idea of religiousness is viewed superficially. Those films have religious genre, which should have put the religious messages into the contents of films, which are the attitudes of characters and the utterances. However, the contents of the films are common thing. The utterances did not have religious value in Islamic preaching to preach the audience. Yet, the religiousness is more emphasized on the appearance, which is Islamic attributes worn by Ustadz and female protagonist. They may look religious by wearing those attributes, because they include religious standard clothing. Therefore, the films transfer a religious idea, which is enough by wearing Islamic attributes rather than doing religious attitude. From the wearing Islamic attributes, the study found that the piety symbols that are shown in the films have turned into a trend fashion that is so exalted. Hence, the commercialism of Islamic attributes begin to grow rapidly and profitable.
7. Acknowledgement
the power to finish up this thesis, giving me strength, care and love through many people around me. I truly know, without You, Jesus, I cannot do anything.
Secondly, my special gratitude would go to my family. Thanks Mami-Babe for all of your supports, prays and advices, and thank you for taking me in your prayer. I am indebted to you so much. I am sorry if I often make a lot of mistakes, Mi…. Be….. For my entire
member, my two lovely brothers Mas Aris and Mas Adi, thanks for your encouragement in finishing my thesis and have colored my life with your beautiful love. For mas Kusnanto, thanks to warm relationship you give me. All my whole family I say thanks, I am really sorry to keep you waiting for my graduation day so long.
My greatest attitude also goes to Ibu Purwanti, my supervisor, thanks for your guidance and patience during the making this thesis. Without your wisdom, the preceding pages would still dancing inside my thought. Thanks Bu Pur. I will be forever grateful to my second reader, Bu Suzana Maria, who makes the perfect finishing for this thesis in her own delicate way. Thanks for spending your time to read this thesis.
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