Hal itu terkait misi agama-agama untuk menghadirkan perdamaian sebagai kontribusi positifnya. Kehadiran agama dalam ruang publik merupakan suatu keniscayaan. The representations of Arab others and Indonesian selves eventually lead to contestations of religious authenticity and social class. This implies that self-representations play a crucial role in the ways in which Indonesian Muslims relate to a region, culture and people long viewed as the “center” of Islamic culture. They attribute ideal male and female characteristic features to Asian Islamic identities, while they portray objectionable ones as Arab culture. Ethnographic research with labor migrants and pilgrims, and a cultural analysis of cinematic representations of Indonesian students in Cairo, show that conceptions of gendered moralities feature strongly in the ways in which these particular Indonesian Muslims define their authentic Muslim selves, as distinct from Arab others. This article examines how Indonesian Muslims, who have traveled to and/or resided in the Middle East, construct their social identities in relation to Arab others. In contemporary Indonesia, Muslims increasingly define themselves by othering fellow Muslims, including Arab Muslims. 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 Islami 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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