![]() Rather than a simplified creative world many hoped for, Indonesian filmmaking now navigates a new complex of challenges different to those faced before 1998. It has also meant working with a new Ministry of Tourism and Creative Economy, established in 2011. Indonesia presents a particularly interesting case because “going mainstream” has increasingly meant catering to the demands of new Islamic piety movements. 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. 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. The book focuses on a 20-year period of great upheaval from modest, indie beginnings, through mainstream appeal, to international recognition. In Indonesian Cinema after the New Order: Going Mainstream, Thomas Barker presents the first systematic and most comprehensive history of contemporary Indonesian cinema. Second, where advertisements in the Suharto era tended to illustrate a dynamicity in discourses on Islamic identity, advertisements in the Reform era have generally promoted a more singular understanding of Indonesian Islamic identity. First, where advertisements in the Suharto era tended to embrace viewers of all backgrounds, advertisements in the Reform era have often positioned Islam as more exclusive. However, advertisements differed in two key aspects. Advertisements in both eras used such symbols as turbans, skullcaps, and headscarves, as well as other common symbols of Islam. ![]() The use of Islamic symbols became more common during the Reform Era (1998–present), particularly following the rise of the film Islamic genre. ![]() It finds that, during the Suharto Era (1966–1998), Islam was generally not represented explicitly in film advertisements however, examples could still be found in advertisements for films intended to preach Islamic values as well as in advertisements for films with more general themes. This article examines how Islam has been depicted in advertisements for Indonesian films over the past fifty years. ![]()
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