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A text is addressed to an indefinite number of strangers who are united by the criteria of territory, identity, belief, or some other forms of membership. Since it is not texts themselves that create the public but the concatenation of texts through time and the way they circulate, the forms of mediation involved and how this mediation takes place are important matters for the understanding of the public.
Anderson eds , New Media in the Muslim World. In addition to this, an effort to redefine the public sphere has been done. Who can speak for religion in an authoritative manner? Religious authority is a bewildering concept.
The word authority in the English Oxford dictionary is defined as: 1. However, Mark Weber defines authority as being different from power.
For him, unlike power, authority, functioning in the absence of coercion, is related more closely to charisma. Anderson eds , New Media in the Muslim World, pp.
Ltd, , pp. In many cases throughout the history of Islam, religious authority has been also exercised by a variety of individuals such as sultans or political leaders and sufis. The proliferation of mass media, video cassettes, television, and internet is particular to the globalizing modern society, and has generated a changing mode of construction of religious authority.
Religious texts are published in mass media such as magazines and newspapers.
On many occasions, people hear religious sermons on tape recorders, and also watch religious preachers delivering their religious learning as well as Islamic drama on television.
This new emerging mode of Islamic publication media has generated a new Muslim public in which religious authority is widely contested. He concludes that as a result of mass education and the growing literacy, non religiously-educated specialists start to be involved in religious debates, and participate in shaping a new religious authority.
As indicated by Eric Sasono, going to 22 Ibid. Nonetheless, mature people are considered to be part of the audience as well. Moreover, Indonesian films are currently available in various digital media which enable wider audiences to easily access these films. Several films are also broadcast on some of the national and local television channels, which means that a broader audience can possibly watch the film.
Since the internet become increasingly popular, a number of national films are placed on several websites, such as You Tube and other private blogs, where the audience can easily download the film. Moreover, a film festival can be another way for the audiences of Indonesian films to watch national cinema. One hundred copies were made of the film, or almost ten times more than any other national film. The film was seen by no less than 3.
In addition, the film was screened in various international film festivals such as the Cannes Film Festival in France, the Indonesian Film Festival in the Netherlands and Prague. It was also screened in mobile cinemas in Palembang.
The situation of the film screening inside the cinema deserved analysis. Most spectators were women, some were wearing head covers. During the last screening of the film, there was a significant number of spectators either applauding or shedding tears. This indicates that the audience of the film come from a variety of backgrounds. The film was watched not only by young movie-goers, but also by people who were not used to attending a film screening in the cinema.
More importantly, the survey of the members of the Islamic learning group, or pengajian, in Agung Mosque, Bandung, conducted by a volunteer for this research found that out of 40 members of the pengajian, almost 20 percent watched the film. Most of them were between thirty and sixty years old.
In addition, four of them admitted watching the film in the movie theater, while the rest watched it in their homes. This rough data indicates that the film was not only successful in attracting moviegoers from different backgrounds to go to the cinema but also successful in getting the members of Islamic learning groups to have their religious lesson in a cinema. I supported your desire to save this film. Save this film completely. I have watched the film trailer.
Honestly, there were some scenes that disappointed me and ruined my hopes for this film.
This is completely unsuitable for Islam. I have watched the film. For me AAC [the film] is a good film. I give my respect to Mas Hanung and hope there will be more films like this one that are made in the near future, and those films can be used as enlightening films for the heart.
Responses from the audience were also found in some magazines29 and newspapers. It is by chance that I am the oldest of all, and the one who has been living in Egypt the longest. Academically, I am the highest standing too. This article has openly been discussed by other bloggers, criticising the film. What is more interesting to discuss is, however, the question of how the audiences of the film could give their responses to the film and how they can shape their arguments.
Those responses could not be addressed without the media. Their eagerness to voice their reaction toward the film has been, to some extent, inspired by Hanung Bramantyo posting his personal notes about the film production on his private blog. In the novel, Fahri appears not only as the oldest among his other five house mates, but also as the leader of the house.
Their smooth verbal and non- verbal expressions indicate that their relationship was less hierarchical and more equal. This difference was neither accidental nor by ignorance from the film director.
The perfect character of Fahri developed in the novel by Habiburrahman was perceived by Hanung as unrealistic. But, if those characteristics were accumulated in one person, let alone if the person is being chased by many beautiful girls, it does not seem believable according to Hanung. The same criticism was widely spread among a number of the readers of the novel.
In response, Habiburrahman denies that the character of Fahri is perfect since he has such humanistic characters as his tendency to be tearful. Furthermore, he confesses that the character of Fahri was a combination of some really existing figures. First, the production of the film allowed the film director to challenge the authority of the novel writer.
This is because both individuals have a very different background in religious education. Habiburrahman grew up in a traditional religious family.
He obtained his entire education from religious institutions, starting with pesantren,37 madrasah,38 and finally Al-Azhar University where he acquired some legitimacy to speak on religious matters.