Titlebook: Gender and Islam in Indonesian Cinema; Alicia Izharuddin Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Gender and Islamic

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Afterword,ic Indonesian cinema tends to follow a separatist binary model of analysis which divides gender into cis-gendered femininities and masculinities. The afterword of this book considers new ways of asking about gender and Islam in film-making practice and culture, and also about secular and sacred pleasures and anxieties.

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https://doi.org/10.1007/978-94-009-2005-7al good. But even then, the making of Islamic films is fraught with political, commercial, and ideological obstacles. Although the relaxation of strict media regulations after the fall of the New Order was welcomed by some, new media freedoms were greeted with a censorious backlash that was seen as ‘Islamic’ in its manifestation.

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, at the Cinema: Identifying the Generic Parameters of Islamic Films,al good. But even then, the making of Islamic films is fraught with political, commercial, and ideological obstacles. Although the relaxation of strict media regulations after the fall of the New Order was welcomed by some, new media freedoms were greeted with a censorious backlash that was seen as ‘Islamic’ in its manifestation.

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赤字

Gender and Islam in Indonesian Cinema978-981-10-2173-2Series ISSN 2662-7884 Series E-ISSN 2662-7892

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LURE

Mikromechanik und Homogenisierung,del of virgin-mother/virago-whore. That the limited range of feminine representations in Indonesian cinema is a symptom of a lack of women behind the scenes can be attributed to the gender inequality in the political economy of the industry itself. In some cases, the binary model of femininity is a