Afterword

Abstract

Although the Islamic film genre is a powerful bellwether for the country’s politics, religious practice and culture, it is employs strategies to reduce the diversity of religious life in Indonesia. These strategies can be discerned from a gendered perspective in which construction of gender in Islamic 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.