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Open Access The Celebrity Kyai and Phantoms of the Past: Tussling with the Bounds of Indonesian Moralities, Realities, and Popularities

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The Celebrity Kyai and Phantoms of the Past: Tussling with the Bounds of Indonesian Moralities, Realities, and Popularities

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Chapter Summary

The proliferation of images of Islam on television and the wider exposure of Islamic groups in their efforts to regulate audio-visual media, music, and art, could not but influence narrative practices in film and television. This chapter attempts to discover the way in which Islam was implicated in defining the bounds of post-Soeharto film and television narratives. It gives a broader overview of the role of Islamic authorities and mass organizations and the fear of Muslim protests in film production, exhibition, censorship, and self-censorship during the New Order and Reform. Islam is one part of a complex discourse about the organization, principles, and representation of the post-Soeharto Indonesian nation. The two specific cases of Buruan cium gue! and of Masyarakat Film Indonesia (MFI) versus LSF/Front Pembela Islam (FPI) have revealed debates about what social norms, religious beliefs, and realities are acceptable in narrative practices in post-Soeharto Indonesian audio-visual media.

Keywords: Buruan cium gue!; censorship; Islam; Masyarakat Film Indonesia (MFI ); New Order; post-Soeharto film narratives; post-Soeharto television narratives

10.1163/9789004253476_008
/content/books/b9789004253476s008
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