ISLAM REPRESENTATION IN RELIGIOUS ELECTRONIC CINEMAS

ISLAM REPRESENTATION IN RELIGIOUS ELECTRONIC CINEMAS
IN INDONESIA
Muzayin Nazaruddin
Communication Department
Islamic University of Indonesia
Jl. Kaliurang Km 14.5 Yogyakarta Indonesia
Telp. 0274.898444, ext. 3267
Mobile: 081578010103
[email protected]
Abstract
The contemporary of Islamic revival in Indonesia shows many
phenomena that are fragmented, separated and sometimes contradictory. For
example, the growing of Islamic fundamentalism groups, Islamic education
models and institutions, political parties which campaign Islam as its
ideologies, or the rise of Islamic mass media (magazine, radio and television).
One of these interesting phenomena was the booming of new genre of
Indonesian electronic cinema since 2004, later on named “religious electronic
cinema”. Straightaway, this new genre had a huge number of loyal lovers,
occupied the prime time of Indonesian televisions. At the end of 2007, some
of these religious electronic cinemas were still holding out in the prime time
position.
Indonesian electronic cinemas clearly represent Islamic symbols, the
actor and actress wear Islamic cloths, reciting holy quran, praying and others.
The exact one, audiences watch them as “Islamic electronic cinemas”.
In front of the audiences, these religious electronic cinemas represent Islamic
teaching and values. So, the important question is “how is Islam represented
by these religious electronic cinemas?”
Answering this question, author approaches this phenomenon using
semiotic analysis. Author selectively watched some title of these religious
electronic cinemas seriously, taking note and analyze using semiotic
perspective.
This study concludes some important points that are not related each
other, fragmented and sometimes contradictory: 1). Islam looks at something
in “black and white” views, 2). Ideal Moslem is someone that full of
surrenderness, 3). For moslem, the death is terrifying, God has cruel ways to
punish any faults, 4). For moslem, repenting and asking God for forgiveness
is very easy, 5). Women is source of sins and social problems. The general
representation, Islam is traditional and irrational religion and full of
superstitions.
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Keywords:
Religious electronic cinema, Islam representation, myth, Java mysticism,
semiotic.
INTRODUCTION
Looking at electronic cinema is looking at Indonesia. This conclusion is
not empty jargon without any reasons. In the powerful era of television in
Indonesia, electronic cinema becomes program which never been shifted.
Since its apparition at 90’s till now, electronic cinema always becomes most
popular television program in Indonesia.
In 2002, within a week, audience was served not less than 69 titles of
electronic cinemas. More than 70 hours within a week used to present
electronic cinemas, especially at the prime time, at 19.00 - 21.00. RCTI,
SCTV, and Indosiar played more than 15 titles of electronic cinemas in a
week (Kompas, 2002). Actually, Asian drama serial film, such as Meteor
Garden, was residing in top of popularity at that time, but never could unseat
electronic cinema. According to AC Nielsen survey mid of February 2002, the
top of 10 television programs (rating more than 12) were dominated by
electronic cinema (Kontan, 2002).
At December 2006, all of 10 television programs with highest rating
were electronic cinema (AC Nielsen, 2006). Electronic cinema also dominate
(43%) list of 100 television programs with highest rating. Stations which most
present electronic cinemas were SCTV (18 titles), RCTI (15 titles), and TPI (7
titles).
Manoj Punjabi, President Director of MD Entertainment, one of the
production house which dominating electronic cinema production in
Indonesia, said: "Rating of electronic cinema is stable. In the big ten, 80-90 %
is mastered by electronic cinema. Television will make show game, talk show,
singing contest, if it has high rating, it will be only for a while. Electronic
cinema will not be shifted" (Ivvaty, Kompas, 2007).
Popularity of electronic cinema also can be seen from the length of
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episode produced. In 2002, Gerhana can reach more than 200 episodes, Jin
dan Jun (Jin and Jun) reach 320 episodes, Misteri Gunung Merapi (Mystery of
Merapi Mountain) still glorious in episode 260, and Spontan (Spontaneity)
reach 300 episodes (Kompas, 2002). In 2007, Cinta Fitri (The Love of Fitri)
has reached more than 122 episodes, Intan reach 264 episodes. Longest
electronic cinema held by Tersanjung (Praised) which has 356 episode from
1998 till 2005 (Ivvaty, Kompas, 2007).
Electronic cinema in Indonesia have flit theme tendency, rising more
specific electronic cinema genres. In the beginning of 90th, popular theme is
household conflict. That theme later shift to young executive love which full of
conflict, shifting again to senior high school students love conflict; and
continue to junior high school students love. The love theme then shifted by
legend stories or fantasy.
Genres which change continually is caused especially by the television
station character which like to imitate, in consequence of rating ideology that
they hold. When a station produces a new theme of electronic cinema and get
high rating, hence other stations compete to produce similar electronic cinema
(Panjaitan and Iqbal, 2006: 46-53). Its result is a list of various electronic
cinemas which "equal but not the same", the titles and its artists are true
different, but the format of story, logic, plot, characterization and setting are
the same (Sudibyo, 2004: 62-63).
In 2004, theme of electronic cinema shifted to mystique stories
wrapped by religious messages, which is later named by religious electronic
cinema. This new genre rapidly grew in 2005, and still popular till the middle
of 2007. All television stations in Indonesia compete to produce this genre.
Religious electronic cinema genre becomes interesting and important
to be studied because of some points. First, high rating of this genre. Some
titles of this religious electronic cinemas are very popular and reach 10
highest rating programs, like Rahasia Ilahi (The God Secret) was first rank of
2005, Takdir Ilahi (The God Destiny) was third rank of 2005, Pintu Hidayah
(The Guidance Way) was second rank of 2006, and others. Second, this
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genre is full of Islamic symbols. The titles, like example mentioned above,
taking popular Islam idioms. Its artists also wear Islamic clothes and veil,
reciting of Holy Quran, even often presented praying devoutly.
Data above can be argument to conclude that electronic cinema is the
mirror of Indonesian contemporary society, looking at electronic cinema in fact
is looking at the way of thinking Indonesian society. The content of popular
electronic cinemas is matching with desire and way of thinking of most
Indonesian society (Kristanto, 2004: 168).
Step more critical, looking at electronic cinema mean looking at power
class ideology (especially businessman and media owner class), how the
class interpret historical reality according to their importance (Berger, 2000:
42).
Hence, looking at religious electronic cinema is looking at Islam in
Indonesia at this time, although of course not all its side. How Islam presented
in these religious electronic cinemas show the understanding of Islam in
Indonesian society these days. Critically, it shows the elite class interpreting
Islam according to their importance. Finally, looking at Islam representation in
religious electronic cinema can be sharp analysis to understand Islamic
understanding of contemporary Indonesian society.
METHOD AND THEORITICAL FRAMEWORK
That background leads author to use semiotic approach to study
religious electronic cinema in Indonesia. Like have generally known, semiotic
is the study of signs. A sign is anything that can stand for something else
(Griffin, 2006: 26).
In this study, author applies some models of semiotic analyzes. First,
Saussure's theory on semiotic. For Saussure (1966: 67), sign is the
combination of its signifier and signified. Signifier is the sounds and images,
signified is the concepts these sounds and images bring to mind. The relation
between signifier and signified is based on convention, is arbitrary.
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Second, Barthes's theory about two steps sign systems. Barthes was
interested in signs that are seemingly straightforward but that subtly
communicate ideological or connotative meaning and perpetuate the
dominant values of society (Griffin, 2006: 359). Barthes believed that the
significant semiotic systems of a culture lock in the status quo. The mythology
that surrounds a society's crucial signs displays the world as it is today, as
natural, inevitable, and eternal. The function of myth is to bless the mess.
Barthes claimed that every ideological sign is the result of two interconnected
sign systems. The first system, strictly descriptive, the signifier image and the
signified concept combining to produce denotative sign. The second,
connotation as a second order semiotic system, is the key to transforming a
neutral sign into ideological tool. The sign of the first system becomes the
signifier of the second (Griffin, 2006: 358-363).
Third, syntagmatic and paradigmatic analysis. Semioticians use term
syntagmatic analysis for interpretation of texts that look at them in terms of
sequence of events that give them meaning – in the same way that the
sequence of words we use in a sentence generates meaning. The term
syntagm means chain. Paradigmatic analysis concerns itself with how
oppositions hidden in the text generates meaning. The binary oppositions are
the fundamental way the human mind produces meaning. In every text, the
human mind searches for oppositions that enable it to make sense of things.
We do this because that is how language works, concepts are always defined
differentially (Berger, 2000: 44-48).
Fourth, Pierce's trichotomy: icon, index, symbol. Pierce believed there
were three different kinds of signs based on relationship between sign and its
object: icons, indexes, symbols. Icons signify by resemblance, indexes signify
by cause and effect, symbols signify on the basis of convention (Budiman,
2004: 25 – 34, Berger, 2000: 39, Pierce, 1986: 8).
Semiotic of religious electronic cinema in this study is applied in two
level analyzes. First, attendance of religious electronic cinema itself as
popular new genre is a sign which can be studied by semiotic, specially
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related to contemporary Indonesian Islamic society. In this level, author
applies semiotic approach by becoming critical active audience to apparition
and growth of religious electronic cinema, since first apparition in 2004 till
middle of 2006.
Second, an electronic cinema, in all or each episode, representing
complex sign system, woke up with many signs which supporting each other
to bring out a certain meaning. In general, this semiotic level is applied by
author when looking at the electronic cinema in television critically (2004 2006), trying to analyze sings in those electronic cinemas.
Specifically, author analyzes exhaustively five episodes of religious
electronic cinema which chosen based on certain category. These five
episodes are: 1. Kuasa Ilahi (The God Power), in the episode “Kuburan
Penuh Lintah” (The Grave Full of Leech), presented by SCTV, 23 June 2007,
20.00 WIB. 2. Rahasia Ilahi (The God Secret), in the episode “Terhimpit
Kubur” (Wedged in The Grave), presented by TPI, Monday, 20.30 WIB). 3.
Kusebut NamaMu (I Mention Your Name), in the episode “Unang Jadi Tukang
Bubur Sukses” (Unang Becomes Successful Porridge Seller), presented by
TPI, Sunday, 10 September 2006, 17.00 WIB. 4. Pintu Hidayah (The
Guidance Way), in the episode “Kisah Cinta Sang Pelacur dan Sopir
Taksi” (The Love Story of Prostitute and Taxi Driver), presented by RCTI,
Monday, 6 November 2006, 20.00 WIB. 5. Astaghfirullah, in the episode “Ilmu
leluhur Bikin Sengsara” (Ancestors Mysticism Makes Misery), presented by
SCTV, Monday, 20.00 WIB. Farther description regarding these five units of
analysis will be explained in separate shares.
RESEARCH OUTCOMES
1. History and Growing up of Religious Electronic Cinemas in Indonesia
Since 2004, Indonesian television scatter event of mystique reality
show with ghost world setting, some among others are Dunia Lain (TransTV,
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Saturday, 22.00 WIB), Gentayangan (TPI, Tuesday, 23.30 WIB), Pemburu
Hantu (Lativi, Friday, 21.30 WIB), Ih...Seeerem (TPI, Wednesday, 21.30 WIB),
Percaya Gak Percaya (ANTV), and Cerita Masyarakat (Lativi). In a short time,
these various mystique reality shows get warm reception of society, marked
by high rating.
In demand in these mystique shows seemingly provoke producer
creativity. They tidy this mystical aroma, wrapped with religious nuance, in the
form of family drama or electronic cinema, till finally emerge new electronic
cinema genre known as religious electronic cinema.
First religious electronic cinema produced and got big success is
Rahasia Ilahi. Before success, this electronic cinema changed name to
several times, from Misteri Ilahi, Benang Tasbih, last to Rahasia Ilahi. This last
title has been offered to some television stations, but always refused, because
assumed did not have sell value. After improved and re-prepared during three
months, Rahasia Ilahi offered again to TPI with share advertisement system. It
means, if it just got a few advertisement or not at all Kusuma Esa Permata
(KEP) as producer of electronic cinema will lose.
Unpredictable,
Rahasia
Ilahi
could
be
favorite
event
outside
Ramadhan. Since the middle of March till April 2005, Rahasia Ilahi was
watched by 40-50% audiences, its rating was 14-15. Around May - June
2004, Rahasia Ilahi can be shown every day at 21.00 WIB. Finally,
successfulness 30 episode of Rahasia Ilahi, lengthen to 10 episode of
Rahasia Ilahi 2 and Rahasia Ilahi 3, showing every Monday during 1,5 hours
at prime time, between 19.00 - 22.00 WIB. When Rahasia Ilahi reach the top
position, along withKEP, TPI launch Takdir Ilahi, display every Thursday at
21.00 WIB. As like his old brother, after two months, electronic cinema
become popular directly.
Successfulness two the religious electronic cinemas made TPI become
top television in acquirement of rating number. Pursuant to AC Nielsen
survey, during two weeks successively, 0513 and 0514 week (March till April
2005), TPI reside in first position, its share is 15,8 %, followed by SCTV
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(15,2%), RCTI (14,9%), Indosiar (12,4%), and Lativi (11,2%). At this period,
Rahasia Ilahi took the top in 50 top program in all television stations with
rating 14,9 and share 40,29 %. Meanwhile, Takdir Ilahi occupied third position
with rating 9,8 and share 22,8% (Sinar Harapan, 2008).
Hereinafter, can be anticipated, successfulness of this religious
electronic cinema creates epigones. All television station, except Metro TV as
news television station, crowded produce electronic cinema with similar
theme. Even, TVRI as public television partake to broadcast this religious
electronic cinema, for example: Ridho Allah, every Friday, 18.30 WIB
andCahaya Kemenangan, every Friday, 22.30 WIB. According To AGB
Nielsen Media of Research, till 21 May 2005 there are 35 titles of religious
electronic cinema (Gatra, 2005). Survey Nielsen Media Research hereinafter,
the end of July 2005, indicated that some religious electronic cinema occupied
10 big o] popular program in all television station, those are: Rahasia Ilahi,
Takdir Ilahi, Suratan takdir, Hidayah and Astaghfirullah. Till 2007, some of the
mystique electronic cinemas still stay in prime time position.
After tracing various books, in the form of television programs schedule
in print media, and also various data in online media (internet), author find
datas of religious electronic cinema in Indonesian television stations, during
2005 till 2007.
Table 1
List of Religious Electronic Cinemas di Indonesia during 2005-2007
No
1.
2.
3.
4.
5.
6.
7.
8.
9.
Title of electronic
cinema
Rahasia Ilahi
Televisio
n station
TPI
Takdir Ilahi
Mereka Ada di ManaMana
Allah Maha Besar
Ingin Cepat Kaya
Dosa Tak Berampun
Jalan Keadilan
Rahmat Ilahi
KehendakMu
TPI
TPI
TPI
TPI
TPI
TPI
TPI
TPI
Time
Monday, 20.30 WIB or
Friday, 20.00 WIB
Thursday, 20.30 WIB
Friday, 19.00 WIB or
Thursday, 18.30 WIB
Wednesday, 20.30 WIB
Monday, 19.30 WIB
Thursday, 19.00 WIB
Monday, 18.00 WIB
Tuesday, 19.00 WIB
Monday, 20.00 WIB
8
10.
HidayahMu
TPI
11.
12.
13.
14.
15.
16.
17.
18.
Kusebut NamaMu
Astaghfirullah
Kuasa Ilahi
Kafir
Suratan Takdir
Iman
Jalan Takwa
Taubat
TPI
SCTV
SCTV
SCTV
SCTV
SCTV
SCTV
TransTV
19.
20.
Istighfar
Hidayah
TransTV
TransTV
21.
Insyaf
TransTV
22.
23.
24.
Takbir Hikmah
Hikayah
Azab Dunia
TransTV
TransTV
ANTV
25.
26.
Sakaratul Maut
Sinema Legenda
ANTV
ANTV
27.
Jalan Ke Surga
ANTV
28.
29.
Nauzubillahi Min Zaalik ANTV
Hanya Tuhan yang Indosiar
Tahu
Tawakal
Indosiar
30.
31.
32.
33.
34.
35.
36.
37.
38.
Indosiar
Indosiar
Indosiar
Indosiar
Indosiar
Indosiar
Indosiar
RCTI
39.
40.
Mukjizat Allah
Padamu Ya Rabbi
Di Balik Kuasa Ilahi
Di Balik Kuasa Tuhan
Titipan Ilahi
Misteri Ilahi
Misteri Dua Dunia
Tuhan Ada di ManaMana
Jagalah Hati
Maha Kasih
41.
Cahaya Surga
RCTI
RCTI
RCTI
Monday, 18.00 WIB or
Tuesday, 22.30 WIB
Sunday, 17.00 WIB
Monday, 20.00 WIB
Thursday, 19.00 or 21.00 WIB
Friday, 20.30 WIB
Friday, 19.00 WIB
Saturday, 19.00 WIB
Friday, 16.00 WIB
Friday, 20.00 WIB or
Thursday, 19.00 WIB
Thursday, 20.00 WIB
Monday,
20.000
WIB,
Wednesday, 20.30 WIB, or
Thursday, 20.00 WIB
Tuesday, 20.00 WIB or
Friday, 19.00 WIB
Saturday, 20.00 WIB
Tuesday, 19.00 WIB
Monday,
19.00
WIB,
Tuesday,
20.00
WIB,
Wednesday, 19.00 WIB and
Thursday, 19.00 WIB
Friday, 19.00 WIB
Saturday, 14.30 WIB and
Saturday, 00.00 WIB
Friday, 11.00 WIB or
Thursday, 11.00 WIB
Thursday, 19.00 WIB
Tuesday, 19.00 WIB
Friday, 18.00 WIB or
Thursday, 18.00 WIB
Friday, 19.00 WIB
Friday, 21.00 WIB
Monday, 20.00 WIB
Saturday, 19.00 WIB
Tuesday, 20.00 WIB
Thursday, 20.00 WIB
Monday, 19.00 WIB
Saturday, 19.00 WIB
Saturday, 18.00 WIB
Saturday, 20.00 WIB or
Friday, 20.00 WIB
Monday, 15.00 WIB
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42.
43.
Hikmah
Pintu Hidayah
RCTI
RCTI
44.
Azab Ilahi
Lativi
Friday, 18.00 WIB
Saturday, 20.00 WIB or
Monday, 20.00 WIB
Friday, 19.00 WIB
In general, the religious electronic cinema content can be divided
become two groups. First, electronic cinema with free story, finish in one
episode. Usually, artist playing the part of even also flit every episode.
Second, continued story from one episode to hereinafter episode, with the
same artist from beginning episode till final.
The boisterous of this religious electronic cinema also generate re-run
phenomenon, where many episodes of electronic cinema religious which have
been displayed to be re-turned around in different time, usually in the
morning, evening or noon. For example, TPI every Monday till Friday at 12.00
WIB turned around religious electronic cinemas which have been displayed
with event title "Best Religious Story”. Besides, TPI also turned around
Rahasia Ilahi every Friday, 16.00 WIB and Jalan Keadilan every Monday,
09.30 WIB. SCTV turned around Kuasa Ilahi every Friday, 15.30 WIB,
Astaghfirullah every Friday, 07.30 WIB and Thursday, 16.00 WIB, and also
Iman every Thursday, 09.00 WIB. Meanwhile, Indosiar turned around Tawakal
every Monday, 10.30 WIB and Trans TV turned around Hidayah every
Monday, 17.00 WIB.
Funniest, this booming mystique electronic cinema made television
event producer to be more "creative" progressively. Electronic cinema which
entering adolescent electronic cinema genre or comedy, for the shake of
pursuing or maintaining rating, compete to payload of mystical in displaying
those cinemas, which outspokenly, gratuitous alter plot become mystique
story, some only insert mystical in their story figure or plot.
Finally, emerge some electronic cinema which not use Islam symbols
(not religious electronic cinema), but have similar tendency, that is loaded of
mystique payloads, for example: Gadis Korek Api, Topeng, Culunnya
Pacarku, Bawang Merah dan Bawang putih, Bidadari, Bunga di Tepi Jalan,
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and Putri. In Gadis Korek Api, match can always grant all request of the girl.
When the match lost and finally the girl found it return, she told: "Thank
match, Allah make always match as my benefactor solitude.
2. Religious Electronic Cinemas Categorization
From tens titles of religious electronic cinema above, there are three
type plot figure and story which often emerge. This three categories then
author give name: "story of sinner which being tortured ", "story of the
successful tough", and "story the sinner which repent". Third naming of
categories above author conduct by himself, with principal consideration
express figure and plot basically. Author concludes this categorization by
observation the electronic cinema when displayed by television station,
especially in 2005 - 2006. As complete as, three plot categories and the figure
can be seen in schema following.
Table 2
Three Categorizations of Plot and the Figure in Religious Electronic
Cinemas
Plot
Figure
Beginning
Conflicts - Climax
Ending
Name of Categorization: story of sinner which being tortured
There are
This antagonist
The antagonist
1. Figure centre on electronic
figure of
usually has some
dead sadly. He
cinema is the antagonist. All
antagonist
problems, either
punished by
of electronic cinema duration
with ugly
through personal (for Allah, before
predominated by depiction of
demeanor.
example the problem death or when
ugly behavior of the
of poorness or debt), buried.
antagonist
and also socially with
2. Figures of Protagonist
protagonist figures.
depicted in a flash and weak,
In facing of this
they are only figurant. This
problem, the
figure oftentimes depicted
antagonist depicted
does not have ability to
to go through wrong
prevent ugly behavior of the
way or do despicable
antagonist
to the protagonist. In
3. There are Moslem scholar
this phase depiction
figure which emerge once in a
the antagonist as is
while. Usually presented in
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"extreme criminal"
very seen, without
little kindliness.
final of story, leading prayer
when obsequies procession
the antagonist till Allah
tortured desist.
Name of Categorization: story of the successful tough
There are
Because his manful, The protagonist
1. Figure centre on electronic
figure of
the protagonist get
remain to be
cinema is the protagonist. All
protagonist
goodly livelihood. At
tough till finally
of cinema electronic duration
kindhearted that moment, emerge proven that he
predominated by depiction of
but has hard out a figure of
is right, winning, manful and kindliness the
life,
antagonist jealous to and finally get
protagonist.
oftentimes
the protagonist. This abundance
2. The protagonist described
become
coveting then trying
livelihood.
surrender ness and stoic,
society
to harm or starred
without effort, only praying
gibing
the protagonist.
unto Allah. Obtained
materials.
successfulness not from hard
work, but because help of
Allah and also others.
3. Attendance of antagonist
only becoming complement
to explain the kindliness and
manful of protagonist in
facing temptation.
There is
figure of
antagonist
depicted by
ugly
behavior
temptation.
Name of Categorization: story the sinner which repent
This antagonist has
The antagonist
1. Figure centre on electronic
an affair, personal
realizes all his
cinema is the antagonist. All
and also social
mistakes, repent of electronic cinema duration
because of his
and become
predominated by depiction of
obsolesce behavior.
good fellow.
ugly behavior of the
In facing this
antagonist.
problem, the
2. Figure of protagonist
antagonist depicted
emerge only as complement
to go through wrong
to depict badness the
way or do cruel to its
antagonist which not repent
society. At one time,
yet.
he get accident,
3. Final of this cinema
disease or tragic
electronic, emerge depiction
accident
the antagonist which repent
and has kindhearted. How
broil of mind to repent has
never been depicted.
4. Final story usually brought
out by a Moslem scholar
giving advises of spiritual
when antagonist repenting.
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For the more circumstantial analysis of semiotic, author chosen one or
two episodes each category, total are five episodes of religious electronic
cinema which author analyze in detail and circumstantial with peripheral of
semiotic. But, considering limitation room, this article does not analysis all that
five electronic cinemas author presents intact, only analysis of Rahasia Ilahi
entitle "Terhimpit Kubur" which author presents intact, detailed and
circumstantial, for example analyze semiotic which have conducted in this
research. As complete as, five episodes that author analyses are:
1. Category: story of sinner which being tortured
a. Title of electronic cinema
: Kuasa Ilahi
Title Episode
: Kuburan Penuh Lintah
Time Displayed
: SCTV, 23 June 2007, 20.00 WIB
Especial Figure
: Erni (antagonist)
Synopsis
: Erni, a woman has ambition to master
wealth an orphan, Astrid, her niece. Erni has done various ways to
kill the orphan and master her wealth. Those various efforts are
failed. The last, Erni becomes victim, passing away tragically.
Tens of leech fulfill corpse tomb, even her corpse is also fulfilled
by leech. Her assistant hear by herself that Erni being tortured in
grave, in pain, "Hot, hot".
b. Title of Electronic cinema
: Rahasia Ilahi
Title Episode
: Terhimpit Kubur
Time Displayed
: TPI, Monday, 20.30 WIB
Especial Figure
: Adunk (antagonist)
Synopsis
: Adunk is a scamp young man. He leads his two
friends, Erik and Endra, doing various act of badness start from
stealing, rob and kill. Adunk progressively becomes more and
more, he planning to recruit new member in order todo big crime.
Erik disagrees, because he does not really want to be criminal.
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Adunk remains to recruit new member, Bagyo and Tatang. In an
opportunity, suddenly Erik protects a mother which her pocket will
be picked by Tatang, even roughs up Tatang. Finally, Erik goes
out from the gang and express repents in front of an ustad. Adunk
is very angry and plans a crime which finally makes Erik entered
to prison. The gang celebrates their victory of Erik by drinking.
Then, suddenly Adunk dying and defeated with foamy mouth.
When will be buried, grave which have been dug is insufficient, redug, insufficient again, till three times. Finally, with prayer an
ustad, corpse of Adunk can be entombed.
2. Category: story the successful tough
a. Title of electronic cinema
: Kusebut NamaMu
Title Episode
: Unang Jadi Tukang Bubur Sukses
Time Displayed
: TPI, Sunday, 10 Sept. 2006, 17.00 WIB
Especial Figure
: Unang (protagonist)
Synopsis
: Unang is a tavelling mush salesman with
result just barely enough. He always tough although have to take
care of Aisah, his daughter hit disease of Asthma. Mush Chicken
of Unang liked by citizen because of his affable Unang. Bejo,
other traveling chicken mush salesman, grudges to Unang
because his merchandise is not saleable. Bejo and his wife
always do insincere to Unang. The peak, they mingle mush of
Unang with laxative. As a result, all citizen eating mush of Unang
directly have stomachache and defecate many times. Citizen then
rough up Unang until black and blue, his wagon also burned. But,
finally citizen know about insincerity of Bejo and citizen return
roughing up him. Seeing kindliness and sincerity of Unang,
Hermawan, a merchant, giving one of his restaurants to Unang to
be managed becomes chicken mush restaurant. Finally, can be
guessed, Unang is successful with his new restaurant.
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3. Category: story the sinner which repent
a. Title of electronic cinema
: Pintu Hidayah
Title Episode
: Kisah Cinta Sang Pelacur dan Sopit Taksi
Time Displayed
: RCTI, Monday, 6 Nov. 2006, 20.00 WIB
Especial Figure
: Susan (antagonist)
Synopsis
: Irfan, a kindhearted and honest taxi driver
falls in love with Susan, a deposit night woman of a sugar-daddy.
One moment, wife the sugar-daddy visits Susan’s house. She
takes again that house and its contents which have been given by
her husband. Susan cannot do something. Later, Irfan helps
Susan by entrusting her to owner of a stall very kindhearted. In
the middle of selfless and good people exactly Susan feels
suffered, she feel undue and dirtiest reside in the centre of them.
Susan tries to suicide. Luckily, Susan can be helped. Finally,
Susan repents and engaged by Irfan. Susan is affected and ready
to be sholehah wife to Irfan.
b. Title of Electronic cinema
: Astaghfirullah
Title Episode
: Ilmu Leluhur Bikin Sengsara
Time Displayed
: SCTV, Monday, 20.00 WIB
Especial Figure
: Sutrisno (antagonist)
Synopsis
: Sutrisno is admirer and perpetrator of
science of magical, invulnerable, and impenetrability. By his
impenetrability science he lies across in black world. One day,
without a clear reason, he has bad headache and very suffering.
He has treatment at all soothsayers and does ancestor rituals,
including drinking water of gutter, but does not recover also.
Finally, Sutrisno is hopeless and intends to suicide. At the time he
hears a mysterious whisper from a kyai which he has recognized
to ask apology. Finally, passing help an ustad, he does healing
15
according to Islam syariat, that is by ruqyah. Then, Sutrisno
recovers, and repents, and back to normal life.
3. The Justifications
First time which must be analyzed in religious electronic cinema is title
of electronic cinema itself as the principal sign from overall of electronic
cinema’s content. If we pay attention of electronic cinema religious titles in
table 1, we can conclude directly, Islam idioms most often used as title of
electronic cinemas. As a sign, we can see relationship of semiotic titles
mentioned as following:
Signifier
"Rahasia Ilahi", "Kuasa Ilahi",
"Astagfirullah", "Allah Maha Besar", etc
(Islamic term as title of electronic
cinema)
Signified
Many electronic cinemas with those titles
are Islamic electronic cinema.
In Rahasia Ilahi electronic cinema, particularly in the beginning of
episodes will appear a note on the screen of television.
Picture 1. This Story is Fact
Signifier
Text said:
This story is a real story taken from
Hidayah Magazine
Signified
Content of electronic cinema is a
valid fact because taken from
Hidayah Magazine which believed
In this case, the] intertextuality strengthening each other between
Rahasia Ilahi cinemas with Hidayah Magazine. In this case, successfulness of
16
Rahasia Ilahi does not release from Hidayah magazine phenomenon, which
have successful beforehand with high ravel. Brooding considerably, Rahasia
Ilahi steals brand of Hidayah Magazine which has been popular.
This intertextuality becomes complicated enough sign system,
particularly in its relation between] fact and fiction. Hidayah Magazine in one
side, popular as magazine lifting events of mystique pursuant to reportage
has been done. They affirm that story which they lift is news, tidy in the form
of story with reporting style as like feature.
First problem emerge on the happening process change of production
mode, from magazine (print media) going to electronic cinema (television).
However, changing of this produce mode has to follow framework and
television work standard yield certain transformations finally blur boundary
between which is fact, which is fiction. Second problem is more complex.
Rahasia Ilahi as religious electronic cinema first emerges at the same time
reach outstanding success has come too far unintentionally become icon from
all of religious electronic cinema themselves. Particularly some religious
electronic cinemas emerged after also claim that story they carried is fact from
various source.
Table 3
Story Sources of Religious Electronic Cinema
No
Title
1.
2.
Rahasia Ilahi
Takdir Ilahi
3.
Allah Maha
Besar
Astaghfirullah
4.
Station
Television
TPI
TPI
Story Source
TPI
Hidayah Magazine
Prophet Hadist in taken away
from Bukhari Moslem taken away
from, Miah qishshash wa
qishshash fi Anis Ash Shalihin
wa Samir al Muttaqin by
Muhammad Amen al Jundi al
Muttaqien and book of Madarijus
Sholikhin by Ibnul Qoyyim al
Jauziyah.
Real experience from story teller
SCTV
Ghoib magazine
17
5.
6.
7.
8.
9.
Kuasa Ilahi
Iman
Taubat
Hidayah
Azab Ilahi
SCTV
SCTV
TransTV
TransTV
Lativi
10
.
Pintu Hidayah
RCTI
Real experience from story teller
Hidayah agazine
Insting Magazine
Hidayah agazine
Witness of people who know
directly
Real experience from story teller
What is the result? It is clear that happened generalizing unconsciously
to audience of that religious electronic cinema - relate all of titles - are real
story which really happened (fact). With perspective of cultivation, audiences
will look at and learn from that religious electronic cinema as a fact that
happened in their society.
The third important sign which related to this matter is presenting
ustadz and ustadzah which is being popular in Indonesia, not to become
artist, but to open or close religious electronic cinema which displayed with
certain advises.
Picture 2. Arifin Ilham as Ikon of Rahasia Ilahi
Picture above always appears in each beginning of Rahasia Ilahi. See
its composition! Picture of Arifin Ilham, a very popular ustadz and liked by
mothers so dominant and inclusion title of electronic cinema and episode title.
Used as a sign, what sign referenced in picture above? Following typology
sign of Pierce, drawing above is icon of Arifin Ilham himself as real object.
Arifin Ilham himself is icon of famous young da'i, owning camera face, and
pleased by mothers. It means, message wish to be submitted is: Rahasia Ilahi
18
purposed for all circle (because all circle recognize Arifin Ilham), particularly to
all mothers and fans of Arifin Ilham.
Drawing of
Holy Quran holded by Arifin Ilham is iconic index, in
meaning really is looking like Holy Quran, or in Barthes term (1968, 1973) is
very motivated icon. Holy Quran itself represents source index and truth of
Islam teaching.
Iconic index submitting the truth of this Islam teaching emerge in many
places, even in the very dominant way, for example
1. Arifin Ilham performs in the beginning of electronic cinema giving
introduction. In his introduction, Arifin Ilham uses sermon or speech in
Islam pattern, started by greeting, praising and considering unto Allah,
sholawat to Prophet Muhammad, and then content of sermon. If
analyzed syntaxmatically, hence pattern of that sermon indicates that
Arifin Ilham is giving sermon, just only its media is television. Its
meaning, what he submits is same as serious as - in meaning level of
truth - with sermons given by imam in mosques
2. Arifin Ilham returns to come up in the end of electronic cinema giving
conclusion, this clay much longer (about 6 minutes). Arifin ilham
presents his narrative, as if will continue his introduction in the
beginning of electronic cinema. His narrative in this conclusion more
presenting reflections of electronic cinema which just displayed.
By syntaxmatically, pattern of narrative presented is:
Opening
Arifin Ilham starts his
sermon by greeting, praising
unto Allah, sholawat, and
few indroduction
Core
Religious electronic
cinema performed till the
end, as if becomes the core
of Arifin Ilham sermon
Ending
Arifin Ilham closed his sermon
by reflection according to Holy
Quran and Hadist of the
religious electronic cinema has
been performed
3. Arifin Ilham, either in introduction and also conclusion of electronic
cinema always recites sentences of Holy Quran and also Prophet
19
hadist. Even, in conclusion he comes up complete with Holy Quran onhand, reciting Holy Quran.
Picture 3. Preacher Rads Holy Quran as Justification
Author crosscut picture above from conclusion of electronic cinema in
the form of sermon of Arifin Ilham during 6 minutes. Look carefully at picture
above. We will find iconic index about quite a lot "truth of Islam", coming up
powerfully and supporting each other. First, in that display Arifin Ilham recites
sentences of Holy Quran, articulated clearly and slowly. Second, Ilham does
not memorizing Holy Quran, but reading it is directly from the Holy Quran he
held. This second point represents sign that Ilham takes a care in presenting
Holy Quran, at the same time takes a care in reflecting electronic cinema
displayed. Third, costumes code of Arifin Ilham designate completely a
costume of a kyai.
Expressly we can conclude that attendance of Arifin Ilham represents
iconic index indicating that religious electronic cinema displayed is "correct"
according to Islam teachings. In short, attendance of ustadz is a very
important iconic index. And in the reality, this strategy also used by many
other religious electronic cinemas.
20
Table 4
Justification of Moslem scholar of Religious Electronic Cinema
No
1.
2.
Title of Electronic
Cinema
Rahasia Ilahi
Takdir Ilahi
Television
Station
TPI
TPI
3.
Astaghfirullah
SCTV
4.
5.
Kuasa Ilahi
Pintu Hidayah
SCTV
RCTI
Ustadz (Moslem
Scholar)
Arifin Ilham
KH. Ali Mustafa
Yaqub, MA. (MUI)
Jefri al Buchory dan
Yusuf Mansur
Jefri al Buchory
Luthfiah Sungkar
If we analyze more circumstantial, signs we have unloaded one by one
from beginning till this time, in fact represent one sign system with a especial
message, that religious electronic cinema is "real story (real correct fact) as
according to Islam teachings." Its network sign we can decompose shortly in
schema hereunder:
Table 5
Electronic Cinema and Islam Teaching
Signifier
Islamic terms as title of
electronic cinemas
Signified
"Islamic electronic
cinema"
Signifier
Text: this story is a true
story taken from Hidayah
Magazine
Signifier
Ustadz (introduction and
conclusion), Holy Quran
and Hadist
Signified
Content of electronic
cinema is believed fact
Signified
Right according to
Islamic teaching
Signifier
Signified
This electronic cinema contains true story
appropriate to Islamic teaching
Signifier
Signified
This electronic cinema must be
watched by all Moslem in Indonesia
21
Those signs braid is very strong, come up to audience without many
distortions. Besides referred by religious electronic cinema, this electronic
cinema genre is popular with "Islamic electronic cinema". That mention
represents index that Indonesian society look at the electronic cinema with
frame that the electronic cinema as according to Islam teaching which they
embraced.
Needn't far to survey attitude of audiences, opinion some Islam figures
in Indonesia hereunder representative enough to see how Indonesian society
behaving on this genre new electronic cinema genre. In 2005, a glorious
period of religious electronic cinema, some Islam figures gave statement and
comment. Din Syamsuddin, General Secretary Committee of Moslem Scholar
Indonesia expressed that MUI intend to give appreciation at televisions
displaying religious events. Ismail Yusanto, Spokesman of Hisbut Tahrir
Indonesia expressed: "This is positive and gives new atmosphere to
audience". Hilman Rasyad, member of DPR of PKS faction gave comment
that the boisterous of religious electronic cinema represent media response of
critics from Islam group carping to display mystique program.
4. Islam Representations
Hence, with conclusion above, when we unload more detailed content
of religious electronic cinema itself, we will discover how Islam is represented.
First, Islam looks into world extremely in black and white views.
Rahasia Ilahi, "Terhimpit Kubur (Oppressed by Grave)" episode, consists of
24 scenes, including opening scene and closing containing speech of Arifin
Ilham. Scene 2 till 9 is stage of figure recognition; entirely focus at Adunk as
antagonist central figure and his two friend, Erik and Endra. These scenes
become important signifier of antagonist figure, as fiction in the electronic
cinema, and also as reality in the social world.
22
Table 6
Signs in Plot of Figure Recognition Stage
Scene
Number
Setting
Isi Scene
(Signifier)
Signified
Daytime in
market, in the
middle of bustle.
Long Scene
Adunk stands by to steal a car. Erik and of
Endra observe the condition around.
Adunk success brings the car, but some
one knows and shouted him as thief.
Adunk kills a man trying hindering him,
hijacks motorcycle of a girl to save himself,
bumping one who try hindering him, and
finally gets away.
Adunk is leader
of brutal criminal
gang.
3
Sitting room a
house. Short
Scene.
Hijacking, the girl is reporting it to her
father. That girl likely recognizes the
hijacker. The Father concludes that its
perpetrator is Adunk, young man like to get
drunk and often does the crime.
Adunk have
been recognized
[by] society as
criminal
4
Gangway in dirty
countrified
Short Scene
Adunk, Erik and Endra are very happy and
showing money as the result of stealing.
They plan to get drunk.
Adunk and his
gang are small
class criminal.
5
Nighttime in a
small shop
Long Scene
6
Daytime in a
house yard.
Long Scene.
7
Sitting room of a
house. Short
Scene.
2
8
House terrace of
Adunk
Long Scene
9
Conversation by
telephone
between Adunk
and his father
Long Scene
Adunk rough up Eman, the owner of their
customer small shop, because Eman does
not provide liquor. Erik and Endra hijack
existing money and destroy the shop. They
leave Eman who unconscious.
Adunk, Erik and of Endra steal motor and
car in their own kampong. Citizen shouts at
them. They conclude that the perpetrator is
Adunk, they mean to berate Adunk’s
house.
Adunk and his two friends are delivering
stolen goods to a buyer.
Citizen troop to berate house of Adunk. But
Adunkis not there, existing only his father.
His father does not care with Adunk, if
citizen wish to send him into a prison.
Citizen answer, it is just useless, because
Adunk have twice entered prison, but he
has never changed. The father says that
Adunk’s mother died because of sorrowful
with Adunk’s behavior.
The father phones Adunk, asking the fact
he have stolen motors and cars. The father
feel concerned about Adunk because
citizen menace will kill him. Adunk
answers, " Needn't to be shy, just assume
do not have child. Dad is getting old, just
manages your own self, and needn’t feel
concerned about me”.
Adunk is very
brutal and has
no pity
compassion.
Adunk is a risk
criminal.
Adunk is a very
bad criminal.
Adunk is a
disaffected child
and recidivist.
Adunk, is a
disaffected child,
he does not
esteem his father
at all.
23
Eight scenes in this recognition of this figure as a whole become sign
that Adunk is really virulent, without have little good side (extreme criminal).
Signifier
Scene 2 till 9
(Recognition of figure of Adunk)
Signified
Adunk is really virulent (extreme criminal)
Extreme depiction of this criminal becomes public tendency, especially
in religious electronic cinema especially in "story of the sinner which is
tortured” category.
Other example, Kuasa Ilahi in “Kuburan Penuh Lintah” (“Grave Full of
Leech”) episode, Erni as antagonist figure depicted is cunning, cruel, and
avaricious and permits all of way. Variously she tries to starred and kill Astrid,
her own niece, with a purpose to master her welth. Erni creates a kidnapping
to Astrid, selling gold bangle omission of her father which have died, even do
black magic to Astrid and her own sister. There is no good side about her
even she does not care about her husband’s suggestion.
In other electronic cinema, “Mereka Ada di Mana-mana”, in “Azab Istri
yang Dzalim” (“Tortures for a Cruel Wife”) episode, antagonist figure depicted
is wild, full of sexual passion, does not meekly at her husband, and like
making affair with others.
If we see from intertextuality side, tendency of depiction 'extreme bad'
will generate generalizing in the mind of society that a cruel or bad one will be
the same forever and does not have a good side even little.
On the contrary, in category "story the successful tough", emerge also
extreme depiction, precisely: "extreme good ". In electronic cinema “Ku Sebut
NamaMu”, episode of “Unang Jadi Tukang Bubur Sukses“ (“Unang Become
Successful Worker Mush”), Unang described as tough person, friendliness,
God fearing and forgiveful. Unang always be patient each face temptation,
including various deed of Bejo and hiswife which always try to hurt Unang. He
always forgives Bejo about his all mistakes. There is no little bear malice or
fulminate to Bejo, even when he almost death because libel of Bejo. Unang is
24
"extreme goodness”.
If we compare "extremely bad" and "extreme goodness", one of
interesting dimension is stereotyping which emerge. The “extreme bad”
depicted powerful anddominate. Adunk is in command of his gang friends,
even citizen and his parents unable to barricade him. Erni is have control in
her household, her husband subjects to her and cannot do something. On the
contrary, the extreme goodness usually depicted powerless and does not
have power. Unang never can defense his own rights when maltreated, only
surrender and pray. Similar conclusion, extreme bad which powerful and
extreme good which powerless strengthen study which writer do previously
about woman construction in horror films and of mystique electronic cinema
Indonesia ( Nazaruddin, 2007).
Extreme picture of bad-good also frequently emerge and become kyai
versus soothsayer stereotype. In one side, kyai, in every religious electronic
cinema, always emerge as truth device and problem solver. It always
described as authoritative men, patient and miraculous oftentimes. His
appearance identically with prayer beads, kopyah, clothes of koko and gamis.
On the other side, soothsayer is badness device and carrier of debacle,
usually depicted to impose highness dark chasuble, wear many earring,
besotted read superstitious formula, scattering water around the room. They
have cruel face, articulate rallying call, eye stare at sharply, currishness, and
full of power passion including the power sexual passion.
One of the ending which often happens in religious electronic cinema is
contention between "kindliness" and "badness". Kindliness is presented by
kyai, on the contrary badness is presented by specter and also soothsayer.
By analyzing paradigm, we will find contrast between “extreme
goodness” and “extreme bad” as following:
25
Tabel 7
Kontras Between Antagonist and Protagonist
Antagonist
Ektrim jahat
Pendosa & penjahat
Role
Penamaan Tokoh
Protagonist
Ekstrim baik
Muslim yang baik
Kacamata hitam
Peci/jilbab
Jaket jeans robek-robek Penampilan
Celana rapi/sarung
Jaket hitam
Baju takwa
Kusut
Rapi
Pemarah
Pemaaf
Durhaka
Taat pada suami/orang tua
Menghalalkan segala cara
Menggunakan cara halal
Dibenci
Sifat & Perbuatan Disukai
Brutal & menganiaya
Sabar & menolong
Serakah
Selalu merasa cukup
Penuh nafsu
Penuh ketaqwaan
Selingkuh
Setia
Powerfull & berpengaruh Kekuasaan
Powerless & tak berdaya
Diazab
Antagonis
Ektrim jahat
Dukun
Pembawa petaka
Mencelakai orang lain
lain
Mantra
Jubah hitam
Manik-manik
Berantakan
Akibat
Peran
Penamaan Tokoh
Peran
Perbuatan
Bacaan
Penampilan
Sukses
Protagonis
Ekstrim baik
Kyai
Problem solver
Menyelamatkan orang
Doa
Baju putih
Tasbih
Rapi
It shows clearly the patterned thinking producers and writers of
scenario which always tread on untrue black and white idealization, kindliness
idealization (becoming very well, without handicap) and on the contrary
badness idealization (becoming is execrable, without good side). Process of
change, becoming either from ugly condition, or on the contrary, or become
progressively adult, have never found in electronic cinemas (JB Kristanto,
2004: 170).
Second, ideal Moslem is tough and surrenderness. This ordinary
obedient Moslem representation appears in "story the successful tough"
26
electronic cinema category. Analysis can start from Unang personality in
Kusebut NamaMu, in "Unang Become Successful Worker Mush" episode.
Unang precise depicts how "ideal moslem" personality in so many religious
electronic cinemas: beginning from is impecunious, always gets temptation
and tough facing it, surrender ness and always prays to God, finally God gives
him successful ness. The siding and audience empathy dribbled to figure
"very good", he/she continuously hurt (with extreme depiction) but always
tough and have never born malice. We can analyze Unang personality:
Unang in the reality
Object
Unang in the electronic cinema
Icon
Interpretant
Concept of Unang’s personality
Index
Concept of ideal moslem personality
Personal representation of ideal moslem ala Unang ala emerge many
times in religious electronic cinema, till finally happened generalizing that
personality like that's ideal moslem personality: tough and surrender ness.
Taking its contrast side, ideal moslem personality needn't strive, because God
gives successfulness through His way Himself, needn't advocate their rights if
maltreated,
needn't
also
reciprocate,
because
God
advocates
and
reciprocating him. Ideal Moslem personality ala religious electronic cinema is
very naive looking into world, only can rely on miracle and help, without trying.
Successfulness is a ' miracle', sudden comes manful blessing and help for
other people, not from hard work. In story of Unang, he becomes success only
because of Hermawan, a merchant gives his restaurant to Unang. It is really a
miracle.
27
Second, preacher shares to fight against genie and or soothsayer and
pray in funeral procession. The same line with that, functioning Al Holy is to
dissipate supernatural creature and genie. In so many religious electronic
cinemas, personality of kyai always shown, but always only a moment,
become complement, usually in final scenes. For example, we observe how
personality of kyai shown in Rahasia Ilahi in “Terhimpit Kubur” ("Oppressed
Grave") episode. In entire scene, kyai only comes up in 3 scenes; those are
18th, 19th, and 20th scene.
Table 7
Preacher Construction in Religious Electronic Cinema
No
Scene
Latar & Jenis
Scene
18
Mushola.
Long scene.
19
Terrace of
house.
Long scene.
22
Cemetry.
Long scene.
Isi Scene
(Signifier)
This long scene only containing
advises from an ustad to Erik who
comes for repenting.
Citizen gather to judge Erik
accused stealing a car, ustad
comes, preventing and advising
them.
Grave which have been prepared
insufficient for the mortal of
Adunk, dug again, insufficient
again, until three times. Ustad
prays, amen by jamaah which
attend. Finally, mortal of Adunk
can be entombed.
Signified
Ustad shares
to advise
someone
which repents.
Ustad shares
to advice
citizen.
Ustad share to
pray corpse to
be buried.
Role of ustad in scenes above show some tendency of public depiction
of ustad role in religious electronic cinema. Broader, if we pay attention to
various religious electronic cinema, there are some characterization of ustad
role usually emerge. Firstly, kyai shares to pray corpse which is being tortured
when funeral process, so that Allah has the pleasure to revoke the torture,
second, kyai shares to fight against soothsayer and also specter bothering
society or someone. Third, kyai shares to advise someone which repents.
Fourth, kyai shares to prevent society want to do anarchist to criminal.
28
Those
various
characterizations
designate
the
existence
of
stereotyping at the same time reduce role of kyai. What is the role of kyai in
education? What is role of kyai in enable ness of social? How about role of
kyai in economics effort? What is role of kyai in preserve local wisdom and
culture? In reality, role of kyai in Indonesia society cannot be denied, not only
in education, social, culture, but also in economics. Various study which have
been done show the evidences about role of kyai, especially in managing their
Islamic boarding house (pondok pesantren). But, in religious electronic
cinema, none of those function shown. Religious electronic cinemas reduce
role of kyai: only in region 'mystique' and 'superstitious', fight against
soothsayer or specter and prays in funeral procession.
Picture 4. Preacher Prays in the Funeral
Signifier
Gambar ustad berdoa
dalam proses pemakaman,
diambil dengan teknik pan up
Signified
Ustad punya otoritas
untuk berdoa dalam
proses pemakaman
Reduction in such manner also happened of position and function of
Holy Quran. Like what have been discussed previously, one of ending which
often emerge in religious electronic cinema is contention between kyai fight
against soothsayer or specter. In that contention, kyai always depicted
reading sentences of Holy Quran, on the contrary soothsayer reads magic
formulas. In an episode of Insyaf, depicted a woman wearing veil walks alone
in the middle of forest, sudden some wolf besieging her. She prays by reading
sentence of Holy Quran, sudden from her right hand shines a reddish light
then defeat the wolfs. In many religious electronic cinemas, often depicted a
29
protagonist figure reads Holy Quran for preventing black magic and occultism
which launched by antagonist figure. What are those meaning? Holy Quran
reduced in such manner only as preventive of magic formulas, occultism and
also specter.
Third, in Islam, death is scarring, God is the most cruel, his torture
is horrible. One of scene which always exists in religious electronic cinema
under “story the sinner which being tortured” category is death scene and
obsequies process which is very oddity and frightening. Notice the following
example: dying with blister head so that he has dreadful face, dying with big
stomach and bleeding, insufficient tomb for corpse though have been
lengthened many times, tomb and corpse full of leech, tomb fulfilled water,
tomb fulfilled animal such as scorpion or snake, from the corpse ear spread
cicada, when grave opened, the corpse get burnt because of being tortured,
jamaah hearing that the corpse screaming painfulness, corpse sudden fly
from his bier, thunder pounce and dark sky when journey of corpse to funeral,
corpse face turn into animal face when will shroud, and so on. Examples
above are not the writer fiction, but fictions have been displayed by religious
electronic cinemas in Indonesia.
These death process and frightening obsequies oftentimes displayed in
detail, with close up technique.
Picture 5. Peculiarities in the Death
Signifier
Gambar orang mati dengan
mulut berbusa sangat sering
muncul, diambil dengan cara
close up
Signified
Indeks ikonik
untuk menunjukkan kematian
yang buruk (su’ul khotimah)
30
Picture 5. Peculiarities in the Death and Funeral
Signifier
Keanehan-keanehan dalam
proses penguburan sering
disajikan dengan close up & dolly in
Signified
Tayangan itu penting
untuk diperhatikan
Signifier
Signified
Indeks ikonik untuk menandakan Azab Allah
Signifier
Signified
Azab adalah indeks kemarahan Allah,
Akibat perbuatan-perbuatan yang buruk selama hidup
Fourth, repent is an easy process, practical and done only in one
time. In many religious electronic cinemas, especially under "story the sinner
which repent" category, story about repent is often displayed. Message which
wish submitted is so clear, someone which repent will be forgiven and get
benediction by Allah. Have to be confessed, it is such an excellent message.
Unfortunately, that glorious message excluded by program pattern which tend
to dramatize. Usually, from the beginning till middle of electronic cinema
predominated about bad behavior of prime figure. It is only to indicate that
they are true sinners. Then, process of repenting itself happen suddenly, like
31
an idea and or unforeseen miracle. Broil of mind, contemplative, or struggle to
repent is never shown at all. Repenting often presented caused by something
that sudden make the prime figure conscious, and then repent, and his
behavior change one hundred eighty degree directly. Repent is instant
process, easy and well done at the first time.
For example is Pintu Hidayah, episode “Kisah Cinta Sopir Taksi dan
Pelacur” ("Love Story between The Driver Cab and Prostitute"). Start from the
beginning till the middle of electronic cinema predominated bad behavior of
Susan as a prostitute. Conflict shown out so Susan finally helped by Irfan, a
taxi driver usually accompanying her andfalling in love with her. Depression
makes Susan try to suicide, but she can be rescued. As solution, Irfan wants
to marry her. Since that time Susan repents and ready to become a good wife
for Irfan. It is an uproar story at the same time very naive. How easy to Irfan
deciding to marry Susan, and also so easy to Susan to repent.
In other electronic cinema, Astaghfirullah, episode "Science of
Ancestor Make Misery", Sutrisno depicted fully from beginning till almost final
of electronic cinema as really young man life in black world. He masters
impenetrable science, with that various badness he does easily. Sudden, one
day his head gets pain considerably and hard to recover. He goes to
soothsayer and do ancestor rituals, including drinking water of drain, but does
not recover also. Till finally Sutrisno hopeless and intend to suicide. Sudden,
there is a whisper from a kyai which he recognizes who live in hillside of
Muria, leading him for repenting. By that whisper, Sutrisno repents, meeting
an ustad to do Islamic medication therapy, with rukyah till finally he recovers
and live as a good moslem. This story is more irrational, repent comes
because of a sudden whisper.
Fifth, woman oftentimes become source of difficulty. Woman
construction as source of difficulty most often emerge electronic cinema under
"story revenge the roamed specter” category. Common plot which most often
presented is a raped woman or vexed dead murder then roam with her
beautiful face, and like to lure men, very similar to Si Manis Jembatan Ancol.
32
Usually, this woman specter will revenge, killing one by one of her killers.
When she wants to kill the last victim, she will meet a moslem scholar which
usually men, awaked, then return to eternity quietly.
If we conclude bravely, woman figure in religious electronic cinemas
with have revenge theme leave from assumption that woman is "weak", occult
and destiny change her becomes strong and has power, can revenge, even
irrational and through a wrong way. The figure is very deflecting because
placing woman as source of conflict, resentful and sinner.
Besides, woman also often presented as creator of badness. Woman
often presented full of jealousy, jealous to other woman then engineer
badness or even kill envied woman. In religious electronic cinemas,
soothsayer usually played by woman, has Iurid face, articulate rallying call,
sharply eye, currishness, flirtatious, full of passion, including sexual passion.
Last, woman often construct as cause of conflict. Common plot in many
electronic cinemas, a beautiful woman become capture two young man and
both killing each other or minimize use mystique to defeat opponent or grab
sweetheart.
DISCUSSION: MYTH IN INDONESIAN SOCIETY, AMONG JAVA, ISLAM
AND URBAN VIEWS
Mystique programs in all epoch always get good market. In ancient
Java belles-lettres and also mid period (Mataram Kingdom), we can find
stories narrating world between: switchover region between hell and heaven,
and world and here after. Monarchic figures of Mataram like Panembahan
Senopati, Sultan Agung and Amangkurat are related to those stories. For
example, in Serat Cebolek, there are story of Mangkubumi struggled with
Commander of Menthek (paddy pest) what finally resulted a number of
agreement. MC Ricklefs, expert historian of Mataram Dynasty, wrote one
special book about this, The Seen and Unseen World in Java (1726-1749).
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Clifford Geertz in Abangan, Santri, Priyayi dalam Masyarakat Jawa,
expressing, Javanese, especially Abangan, comprehending occult or other
world dwelt by many kinds of ghosts or supernatural creators. Geertz
concludes, occult or other world is social world transformed symbolically,
supernatural creature of Priyayi govern supernatural creature of abangan,
natural creature of Chinese open shop and extort the natives, and natural
creature of Santri overcome its time by praying and thinking of the way of
complicating ungodly one.
Java typical image decanted in oral stories, treasure of literature,
story, produced and reproduce in oral culture and article (including media
print). This matter also which then re-produced with visual audio media
(television and film), of course with standards and order arranging media form
itself.
The image mystique reproductions in visual audio media in the reality
have long history. Film genres of horror or mystique have very long tradition in
Indonesian film history, because since first generation of film made in
Indonesia, those film genres were existing. For example Ouw Peh Tjoa ( Doea
Siloeman Oelar Poeti en Item), Tie Pat Kai Kawin ( Siloeman Babi perang
Siloeman Monjet) and Anaknya Siloeman Oelar Poeti.
At 70 till early of 90 decade, emerged mystique films which popular
enough at that period, such as Sundel Bolong (third popular film in 1981), Nyi
Blorong (first popular film in 1982), Kisah Cinta Nyi Blorong (fourth popular
film in 1987), Gairah Malam (third popular film in 1993), and Ratu Pantai
Selatan, pulled by Badan Sensor on July 1989 to be re-censored because
getting hard criticism from the society (JB Kristanto, 2004: 171).
In that period, emerged Indonesian mystique film icon: Suzanna, an
artist which always personate especial figure (usually woman specter) in films,
for example as Sundel Bolong in Malam Satu Suro.
In 2007, from 55 film titles circulating in Indonesia, 23 titles among
others are horror films. Most of them oversold more than 500 thousand
tickets. Kuntilanak could get 1, 5 million audiences. Pocong 2 got 1, 25 million
34
audiences. It is easy to know only by once watching, those films referrer the
effect: straining and scaring, intend to trigger audience adrenalin regardless of
plot, logic, or 'common sense', the story - as does biggest weakness, crucial,
at the same time chronic of Indonesian films (JB Kristanto, 2004: 195 - 219).
The boisterous of horror films in fact follow successful stories of religious
electronic cinemas and mystique in Indonesian television previously
(2005-2006).
If we research, depiction in contemporary horror films also religious
electronic cinema, especially which categorize "story revenge of the roamed
specter" is same precisely with ancient horror films at previous era. Story
does not shift from badness victim, usually woman, dying, then roam and
revenge to her murderer. Specter as primary antagonist figures usually a
woman, beautiful, full of the power and sexual passion, at the same time
virulent and does not know pity compassion.
The difference is only some visualizing techniques of the specter,
which of course adjust historical context expand at each period. Horror films in
70s close with society trust of traditional myths and mystique about occult
nature, as according to Indonesian society context during the period. Hence,
specter in the films usually presented as occult natural ruler - for example
Ratu Pantai Selatan- having hundreds of woman staff which also beautiful,
becoming reference place for 'pesugihan' and or 'black magic’.
Horror films 70s by explicit inspirated of myths expanding in society.
For example myth about Nyi Roro Kidul as south coastal of Java author, myth
of Nyi Blorong, myth of Mbakyu Lanjar in Pekalongan and its surroundings
area, as north coastal of Java author.
Differ from contemporary woman specter in horror film and religious
electronic cinema, described as ordinary woman defeated because violence
then roam to revenge. Social context lifted in the films show transition,
between trust with traditional myth and not. Its visualization as background in
film and electronic cinema even also usually mixture, between modern town
worlds: campus, discotheque, school, mall or hang out places associate with
35
modern adolescent with traditional myth places like empty house, grave or
other.
So, how about stories tell torture of grave which is dominant so
religious electronic cinema in Indonesia? If we trace historically, that thing is
not a new matter. In 90s mystique comics in the stencil form circulate widely in
society as popular light reading. Those comics usually tell a story about hell
and torture in grave. There is ironed sinner, electrical shocked, burned with
hot iron, or to which like to fornicate to be jabbed its privy parts.
Those comics then in 2000 reproduce as mystique tabloid and
magazine, for example Hidayah Magazine, Ghoib Magazine, Instink
Magazine, Kisah Nyata Tabloid, Hikayah Tabloid, Posmo Tabloid and other.
Magazines and these tabloids even also really enthused by Indonesian
society. What more sophisticated, differing from previous mystique comics,
these magazines and tabloids claim its contents as news, through by
reportage of their journalist. This mystique stories claimed as news do not get
respond, criticism and or objection from society, because its contents are
appropriate to their way of thinking.
The successful of magazines and mystique tabloids then reproduced
to be religious electronic cinema. So, we can conclude that the religious
electronic cinemas taken from society myths about death, torture, hell and
heaven. Those trusts can be seen as a kind of people religion, popular
religion.
That trust represents an imagination world to go out from religion
dogmatism. So, from content side, religious electronic cinemas also present
new interpretations to this people religion. Audience watch this electronic
cinema not to find new experiences, journey to future, but to get again their
dreaming rooms, which faded by a hard life, a support for their porous
backbone. " Getting again", it means they have recognized, owning that
rooms, but need a strength that those rooms are such as those which they
recognize, that those rooms are theirs.
Unfortunately, those myths are taken recklessly by film and
36
electronic cinema makers, with visual audio logic (film and television). To
bring out again myths which full of miracle needs extreme poles contradicted
each other, too good kindliness, and too virulent badness. Then which grow
up are irrational black and white world and betray the reality.
But, that irrationality finds its justification again. In modern climate
where a society which always failed and defeated, irrational stories posses
easier, because life they face is irrational also. Rationality is appliance of
power which has colonized them. Hence, those myths re-attended to go out
from industrial society and consumption structure which have defeated them
for a moment. Those irrational stories represent place for them to mirror or
identify themselves as failed people, but have the power of kindliness, or
expectations of victory, freedom, which unlikely to be reached, except by
helping of a warrior, can be Kiai or God. In imagination world, all possibility
can be happened; all imagination can be reached, and of course re-produced.
Putu Wijaya (cited by Ivvaty, Kompas, 2007) told, "When society has
no hold, weak law, which held then is imagination. Audience wish screamed
freely, feel stress and fear together. Watching horror film is a seeking of
ecstasy. Horror films can become ill society therapy, and arrested by
merchant become commodity.
Hence, in fact, digging of the myth recklessly shows diffraction of very
strong urban-city. It means, in traditional village society, those myths have a
deep meaning and magical, they will not agree figures in the myth visualized
in any old way. Real example is hard protest of society of Ratu Pantai Selatan
film in 1989.
When traced farther, deflect of the urban-city because of level system
also focused at urban community. In film context: film market target is society
in towns which have theater or accustomed watching by VCD / DVD player
and PC. In context of electronic cinema mystique in television, we have to
trace to rating ideology which so master the television organizer and
production house. Though, television rating only measured just from nine
metropolis city, so it is very clear a deflect town (Erika Panjaitan and Dhani
37
Iqbal, 2006). Mushrooming mystique electronic cinemas follow the height
rating of these electronic cinemas. Its logic, its load also surely will be adapted
for urban community style becoming population of rating measurement.
And how is urban community opinion about the traditional myths?
There is no research assuring to explain it. But at least, following reflection is
very assisting.
Urban community in Indonesia actually is transitional society, one
foot step on modernity - as philosophy and the same time become life pattern
and view - one other foot still reside at tradition, complete with all norm and its
mythology. It means, this society still recognize traditional myths, but its
meaning have changed, not as value which must be trusted and become
stepping in taking decision, but merely as past memory, daily funny materials,
or even mere empty story, very similar to myth word meaning civilly: story
which first have been believed but in fact not true.
Hence, what appear is permissive attitude of myths, till emerge term
“I don’t care with culture commodification, I just care with how it entertain me”.
If we correlate it with everyday problems, the mystique programs, not
only film but also electronic cinema, seriously walk out of empiric social
reality, especially a-history. Problem of discrimination to woman in all kind of
profession very contrast with problem of mystic - more than anything else
revenge of woman specter - and other same kind.
Hence, that happened is culture commercialization or hyper
commercialization of culture, according to Shoemaker and Reese (2000).
There
are
four
factors
which
each
other
working
along
in
this
commercialization (1) individual factor of creator, (2) connective organizational
network among organizer of media, determinant of rating and producer of film
or electronic cinema, (3) values and policy of television organizer and ( 4)
external factor in the form of advertiser till controller of political and economic
status quo which embosom television media operation.
So, in its maker opinion, horror films or religious electronic cinemas is
a promising business farm. In its audience opinion ( urban community),
38
mystique program wrap religion represent a strength of irrational belief, they
hold as weapon in the middle of rational world defeating their real life, at the
same time as pleasant entertainment.
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