REVIEW FILM
FEMINIST THEORY
TITLE : AYAT-AYAT CINTA (VERSES OF LOVE)
DIRECTOR : HANUNG BRAMANTYO
PRODUCER : DHAMOO PUNJABI, MANOJ PUNJABI
ARTIST : FEDY NURUL as FAHRI
RIANTY CARTWRIGHT as AISYA
CARISSA PUTRI as MARIA
MELANIE PUTRI as NURUL
ZASKIA ADYA MECCA as NOURA
CATEGORY : DRAMA
CEBU NORMAL UNIVERSITY
INTRODUCTION
Feminism film theory really began in earnest during the late 1960s. This was part of the second wife of feminism, the first being the ‘suffragette’ movement of the early 1900s.
Feminist Theory is an international peer reviewed journal that provides a forum for critical analysis and constructive debate within feminism. Feminist Theory is genuinely interdisciplinary and reflects the diversity of feminism, incorporating perspectives from across the broad spectrum of the humanities and social sciences and the full range of feminist political and theoretical stances
Feminism is a social movement which has had an enormous impact on the film theory and criticism. Cinema is taken by feminist to be a culture practice representing myths about women and feminist, as well as about men and masculinity. Issues of representation and spectatorship are central to feminist film theory and criticism.
Since the early eighties, the spectator has become a key centre of debate in feminist film theory. In recent critical studies the female spectator is produced variously as an absence within a mode of address that privileges masculine subject positions, the point of a specific generic address (work on 'women's' genres) and as a subject from whose position textual meaning becomes destabilized and pleasure reconceived.
According to Swanson, Feminist theorists have asked not only what the category 'woman' means and how it is produced, but what it means for women to take up their own position in relation to femininity. This has entailed turning away from cataloguing 'correct' or 'positive' images which are seen to voice women's 'reality', for such catalogues not only suggest that there are such final judgments to be made, but also pin down the feminine to an orthodoxy within which no struggle can be articulated. Instead, theorists have sought to find the right range of definitions inscribed within representations of sexual difference, disaggregating those categories which act to fix and polarize sexual difference. They have moved to analyze the diverse modes of subjectivity, to analyze the ways in which we may use our engagement with representational mechanisms to 'perform' the contradictory relations of gendered identities, focusing on differences between women and with the construction of femininity. The female spectator is formed in a delicate balance between the recognizable common strands of female subjectivity and the disparate particularities of her own history.
According to feminist literary theorist Cheri Register, feminist fiction should have the following qualities:
· serves as a forum for women
· helps to achieve cultural androgyny
· provide role models
· promote sisterhood, and
· augment consciousness-raising
Feminist film theory and its intrinsic debate regarding how women are represented as objects of desire and cinematic pleasure by men was popularized by Molly Haskell in the early 1970s through her book "From Reverence to Rape." Her book "stressed questions of representations of women, especially through negative stereotypes -- Madonna’s, whores, vamps, scatterbrains, bimbos, gold diggers, school ma'ams, nags, sex kittens -- which infantilized women, or demonized them, or turned them into rampant sex objects." (Stam, p. 171).
Film is a culture forum and cultural mirror where elements as society are articulated , screened, discussed, negotiated. Thus film is both a creator of and reflection of cultural values, which during the creation of a film a interact with power relations of multiple interest.
In analyzing the films, there are many theories can be used, one of them is feminist theory. Feminist theory is theoretical film criticism derived from feminist politics and feminist theory. Feminist have many approaches to cinema analysis, regarding the film elements analyzed and their theoretical underpinnings.
Significant alternative feminist theorist might also inform feminist film theory. Liberal, socialist, and post modern feminism all suggest new questions and framework. Liberal feminism has emphasis traditionally female attributes in constructing alternatives to standard ethics, such as maternal ethics of care, or lesbian ethics.
The mayor focus of the analysis at the feminism and cinema event held at the 2008, Ayat- Ayat Cinta that has become history in Indonesian movie industry, wherein this film can be concluded as feminist film, within the present polygamy theme. The aim of the film was to bring together film-makers, film theorists, and women involved in distribution portrayal of polygamy according o Islam.
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THE BODY
Feminism in Indonesia has certainly been important for women’s activism. Through Indonesian women activity rarely use the term to describe themselves, they have a long history of engagement with ideas of genre equality and some organization view themselves as needless in a transnational women’s movement.
Feminism has also produced conservations in Indonesia with opponents accusing it of being destructive to religions values and family structures.
In this analysis theory paper is Ayat-Ayat Cinta film produced in 2007 and released in 2008. It is the popularity of Indonesia film about an illustration of what Pop Islam may look like. This was one of the first Indonesia film to feature a female protagonist who is nearly fully veiled. Many considered it is one of the most Islamic films. Ayat – ayat Cinta is one of feminist films.
Ayat-Ayat Cinta is based on a novel by Habiburahman El Shirazy. The setting of story in Egypt. It centers on the love story of Aisha and her schoolmate from Indonesia Fahri, who has a modest economic background.
Ayat-Ayat Cinta is the general had largely conservative view of Islam that prevails in Indonesia or the familiar and convenient dichotomy between traditional / modern. Wherein this film actually about love story package of Islamic nuance, which was portrayed in elements. This film is also categorized a romance film as its plot structure focused on the love Fahri and four women, whereas the theme of this film is polygamy.
The practice polygamy is not particularly common in Indonesia, polygamy was periodically contentions moral issues through the 20th century. During the nationalist movement in the 1920s and 1930s, women activist were split a long religious/ secular lines, with Muslim women’s group opposing restrictions on polygamy.
Locher- Scholten,(2000) According to Locher- Scholten, muslim women’s group did not embrace polygamous marriage, but rather, opposed to colonial state’s attempts to intervene in religious practice. In 1970s, elite women’s organization pushed for a ban on polygamy. The government responded to their concerns with the 1974 marriage law, which made it extremely difficult for civil servants to marry more than one wife, but 1980s. Indonesia’s growing Muslim middle class generally saw polygamy as a sign of back wardens, although state attempts to ban it might have met with some resistance .
Polygamy has also become grist for Indonesian pop culture in 2008 million of young Indonesia made the film “ Ayat- Ayat cinta a smash hit., wherein Ayat-Ayat Cinta which ends with marriage up its romantic to a second wife, has apparently helped to spawn a new trend for Islamic romance stories and film.
Through many NU leader, discourage polygamy and reiterate the view that a husband must have the means to fully support has wives, they do not fully reject polygamy either.
Until recently in Indonesia, most Muslims saw polygamy as inappropriate for a modern society. Polygamy is legal in Indonesia and a man may take up to four wives, as allowed by Islam. Despite such legality, polygamy has faced some of the most intense opposition than any other nation with the majority consisting of Muslims. Additionally, Indonesia has the largest Muslim population in the world. Recent restrictions have brought about harsher penalties for unlawfully contracted polygamous unions and polygamy is said to be on the decline. Indonesian civil servants and military personnel are also prohibited from practicing from polygamy. A man may take up to four wives as long as he treats them equally and can financially support them all. A man may also take multiple wives if he can prove to the government that his first wife is unable to carry out her duties as a wife
Ayat-Ayat Cinta is the symbolist of gender relations and intends to discover dominant ideology which infiltrates the symbol within the film. On the other hand, the producer of this film just what to give description about how to make polygamy based on Holy Al-Qur’an , cause many man practiced polygamy but could not obey the role of Islam, so that the women namely, the first wife and the second wife were sacrificed.
Ayat-Ayat Cinta told the story of young handsome man, Fahri bin Abdullah Siddiq (Fedil Nuril) , an Indonesian student attending Al-Azhar University in Cairo, Egipt, who attractive four beautiful young women Nurul ( Melanie Fitria), Indonesian girl who also studied in Egypt, the daughter of an important east java religion leader. Noura (Zaskia Adya Mecca), an ungrateful Egyptian girl ( Fahri saved her life, but she betrayed him later by accusing him that he raped her, and it brought him to jail); Maria (Carissa Putri) a Coptic Christian , who inexplicably comported to Islam at the end of the film and to be a second wife: Aisha (Rianin) from wealthy German-Arab family. to be a first wife. In the end of the story, Maria passed away.
Ayat-ayat cinta depicts central female characters who wear the face-covering niqab, a hijab, and who no headscarf at all. Most notably, Maria the Copt-Christian who does not cover her hair is portrayed as morally-upstanding as Aisha who covers her face. In fact, it is Noura, the veiled neighbour who has betrayed Fahri and accuses him of sexual assault. Thus, on a superficial level, the women in Ayat-ayat cinta challenge the moral binary of the headscarfed woman versus the unveiled woman, a binary that is popular in religious television dramas in Indonesia (Nef-Saluz, 2007: 41-42). As the conventional trope in Indonesian soap opera dictates, characters in the jilbab often play the righteous and exceedingly well-mannered women in contrast to the carefree nightclub-going jilbab-free women of dubious moral standing. However, jilbab-free Christian women in film religi .
The film Ayat- Ayat Cinta gave Islamic values, for instance, in man and woman in relationship, wherein the movie showed that close relationship between man and woman was not allowed before got married.
CONCLUSION
The film Ayat-Ayat Cinta is an Islamic romance sub genre which combines religious and values are applied in the film’s narrative, theme, and iconography, whereas the film told about polygamy according to Islam.
The film Ayat-Ayat Cinta can be concluded as feminist film, wherein this film told about female, ideology, and culture. Actually this film represents popular film which resulted from the interaction between sentry religious variants in Indonesia and the film industry, capitalism, market forces, and popular culture. Sentry religious variants in this film are rooted in traditionalist, fundamentalist, modernist, and liberalist Islam in Indonesia.
Women in this film portrayed as active and smart line with liberalist and modernist Islam and based on the theme of this film polygamy, Ayat-Ayat Cinta as a feminist film portrayed the sweet of polygamy if the woman accepted her whole heart to share love with another woman, and the man can be fear in living his family.
Work cized
Stam, Robert. (2001). Film Theory: An Introduction. "The Feminist Intervention."
Malden, Massachusetts: Blackwell Publishers, p. 169-179.
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