Ayat Ayat Cinta

Literary criticism on novel Ayat-ayat cinta, written by Habiburrahman el Shirazy.

Fahri, yang kini tinggal di Edinburgh, Skotlandia, dan bahkan menjadi dosen di University of Edinburgh, terpaksa menjalani kehidupan sendirian. Tanpa Aisha, yang menghilang dalam sebuah perjalanan ke Palestina. Sudah lebih dari dua tahun Fahri berduka dan tenggelam dalam usaha pencarian istri yang sangat dicintainya itu. Dengan menyibukkan dirinya, ia berusaha menyingkirkan rasa sedihnya sekaligus memperbaiki citra Islam dan muslim. Ia berbuat baik pada tetangganya, menyebarkan ilmu agama pada berbagai pihak, dan membantu orang-orang yang butuh bantuannya tanpa memandang bulu. Di tengah kesibukannya, sebuah pertanyaan mengusik datang dari berbagai pihak. Akankah ia membujang seumur hidup? Akankah ia dipertemukan kembali dengan istrinya? Buku persembahan Republika Penerbit [Republika, bukurepublika, Penerbit Republika, novel remaja]

Identity and Pleasure: The Politics of Indonesian Screen Culture critically examines what media and screen culture reveal about the ways urban-based Indonesians attempted to redefine their identity in the first decade of this century. Through a richly nuanced analysis of expressions and representations found in screen culture (cinema, television and social media), it analyses the waves of energy and optimism, and the disillusionment, disorientation and despair, that arose in the power vacuum that followed the dramatic collapse of the militaristic New Order government. While in-depth analyses of identity and political contestation within the nation are the focus of the book, trans-national engagements and global dimensions are a significant part of the story in each chapter. The author focuses on contemporary cultural politics in Indonesia, but each chapter contextualizes current circumstances by setting them within a broader historical perspective.

In Indonesian Cinema after the New Order: Going Mainstream, Thomas Barker presents the first systematic and most comprehensive history of contemporary Indonesian cinema. The book focuses on a 20-year period of great upheaval from modest, indie beginnings, through mainstream appeal, to international recognition. More than a simple narrative, Barker contributes to cultural studies and sociological research by defining the three stages of an industry moving from state administration; through needing to succeed in local pop culture, specifically succeeding with Indonesian youth, to remain financially viable; until it finally realizes international recognition as an art form. This “going mainstream” paradigm reaches far beyond film history and forms a methodology for understanding the market in which all cultural industries operate, where the citizen-consumer (not the state) becomes sovereign. Indonesia presents a particularly interesting case because “going mainstream” has increasingly meant catering to the demands of new Islamic piety movements. It has also meant working with a new Ministry of Tourism and Creative Economy, established in 2011. Rather than a simplified creative world many hoped for, Indonesian filmmaking now navigates a new complex of challenges different to those faced before 1998. Barker sees this industry as a microcosm of the entire country: democratic yet burdened by authoritarian legacies, creative yet culturally contested, international yet domestically shaped. “This is a significant piece of scholarly contribution informed by an extensive range of interviews with industry insiders. This volume is particularly welcome given the dearth of English-language publications on Indonesian cinema in the last two decades. I have no doubt that the book will be extensively used in any future work on national cinema, not just in Indonesia, but Southeast Asia more widely.” —Krishna Sen, University of Western Australia “Indonesian Cinema after the New Order is a marvelously entertaining and important contribution to the study of Indonesian cinema, youth culture, and media worlds in a global context. In fact, I would consider it the best book I have seen on the subject of the Indonesian film industry.” —Mary Steedly, Harvard University