Screen and faith: Mediatization of religion through docudrama
Article

The background of this current research is the shift in the pattern of fulfilling the need for religiosity. The purpose is to examine the mediatization of faith (religion) through media (docudrama). The research question is how docudrama mediatizes faith. The method applied was rhetorical criticism in communication research. This method signifies text and audience’s reception and corresponds to qualitative textual and reception analysis. This current research particularly adapted Jensen’s (2002) media-audience qualitative reception design. The procedure adapted from Frey, et al. (1999) included selecting Solusi docudrama and viewers’ comments on YouTube channel as data, describing themes by identifying elements and inter-relatedness among scenes, analyzing the salient ideas embedded within the themes, interpreting the narrative structure, and evaluating the persuasive force of messages supported by the viewers’ comments. The findings show that docudrama mediatizes religion by representing the interconnection of notions between religiosity-spirituality and individuality-community, the notions of religion in the dramatization frame, and by producing the audience’s pseudo model of reading. In conclusion, media (docudrama) mediatizes faith (religion) by representing the religious frames from a universal and psychic point of view. Mediatization of faith does not merely meet the needs for religiosity but alters the outlook of religion.

Critical Pleasures: Reflections on the Indonesian Horror Genre and its Anti-Fans
Article

Drawing on ethnographic audience research carried out during 2013-2014, this article examines how young, urban, tertiary-educated Indonesians engage with the Indonesian horror genre. For most of these consumers, Indonesian horror films are the subject of ridicule and derision. With reference to Bourdieu’s theories of taste and distinction, I illustrate how the imagined “mass audience” of Indonesian horror functions as a symbolic “other,” emphasizing the cultural capital of more discerning, critical audiences. In exploring these audience members’ critical engagement with Indonesian horror, I also apply recent theories of “anti-fandom” that have come out of US cultural studies. There are many resonances between Indonesian anti-horror sentiment and US anti-fandom, but also some important divergences. I use these gaps and disjunctures as a departure point for reflecting on some of the challenges and opportunities of working at the intersection of Asian studies, media studies and cultural studies in the contemporary scholarly context.

Volume 12 Issue 02 · August 2015 · Locating Southeast Asian Horror · Main Article