׉?4ׁB!בCט{u׉׉ 7cassandra://CnfCNsQLEKXScmochmOmw2s0UPMZeE25gMt_e9BD1Fkt` ׉ 7cassandra://08Iwb_jf-lMZ9zSqjxX1CKr-kodFQvJzqopzTGZUdscp`S׉ 7cassandra://qboLvUbsmwFT3-qUNlB1mScIFLmuMwU3BGCWerQzJPQ+k`̵׉ 7cassandra://9IlkxLsajRroSVYSWk6JFqo07Vd-jYox-o1lO-8rrSo@͠]hVwט{u׈׈E]hVO׉E׉ 7cassandra://qboLvUbsmwFT3-qUNlB1mScIFLmuMwU3BGCWerQzJPQ+k`̵]hVP]hVO{בCט{u׉׉ 7cassandra://aHAUCTjqN3LexPCJuwtImHwjDTCiLdFD3QQcxtW87sI` ׉ 7cassandra://Z3_X_LxpOtviHEQ3iOdJwqvfwuVWc1Zuod-a1-5-VPgD`S׉ 7cassandra://0kg4SkE29mVfEUaGsXSK6hfYWWBcDOe2lkizWrOzxIo`̵׉ 7cassandra://EMK1a7FtH_Cc6ogsZRQjG_jbO2FYsb7ZjsS7KhtX6Xk:͠]hVzט{u׉׉ 7cassandra://HHx8ni5BYfbVad0IK8NgRizwpEsnR0SLS-SaHkTXPfM\S` ׉ 7cassandra://LH7TTP4H19-uDfzhOdHlnKGw4G57BNtbw96tWPyLbHo+`S׉ 7cassandra://aYQ0_ib8iRCSkfNsm_5cFSvYEdBed0dIbZfD4w-m-BM u`̵׉ 7cassandra://fTZ2VQ-Aw0YqUOM2wDMptbVpod4pGIBKHNg8JaXsqYc.H͠]hV{׉EGFROM THE CHIEF EDITOR We are now living in a borderless world. Since the inception of the internet, communication has become unprecedented and very much unpredictable. Today, many terms emerge and redefine what communication is. Internet of Things, Artificial Intelligence and automation have become our recent vocabularies, although many are still vague of what they actually are. We are now in a world full of uncertainties and hope that we have some ideas of what the future has to offer. Despite such uncertainties, we have seen various emerging communication technologies that have changed communication and the way we communicate. Social media and abundance of user-generated content provide diverse news to audience, but they also offer other forms of uncertainties such as fake news and hoax. This brings us to a very important question of ethics—how ethical we should be in navigating communication today and in the future? Pondering this might need us to go back to history, come back to the teachings of religion and start to campaign for good causes. Religion for instance, can be one of the important elements to produce films. Social media, in addition, can be a tool for effectively spreading da’wah and enhancing Muslims’ understanding about Islam. These are some discussions we bring in the first edition of Offstone. We hope by bringing such topics which are written in the form of semi academic and popular writing into the debate, will provide a platform for academics and readers of this magazine to not merely understand the current uncertainties we are facing, but also to extend the studies into deeper investigations and producing impactful and meaningful findings for the society. Although we are not sure what is next for the future, we have to make the first move today! Thank you Dr Siti Suriani Othman Chief Editor of Offstone ׉ 7cassandra://0kg4SkE29mVfEUaGsXSK6hfYWWBcDOe2lkizWrOzxIo`̵]hVQ׉EOFFSTONE BULLETIN EDITORIAL ADVISORY BOARD ADVISOR Prof. Dr. Mohd. Yahya Mohamed Ariffin INTERNATIONAL ADVISORY BOARD MEMBERS Prof. Dr. Faridah Ibrahim Professor/Dean Art, Communication dan Education Faculty, Infrastructure University Kuala Lumpur, Malaysia Prof. H. Andi Faisal Bakti Professor Faculty of Da’wah and Communication Studies, UIN Syarif Hidayatullah Jakarta, Indonesia Prof. Dr. Deddy Mulyana Professor Faculty of Communication Studies, Univertiatas Padjajaran, Indonesia Professor Dr Md Sidin Ahmad Ishak Professor Department of Communication, University of Malaya, Malaysia Dr. Hamdani M. Syam Senior Lecturer Department of Communication, FSD Universitas Syiah Kuala ׉ 7cassandra://aYQ0_ib8iRCSkfNsm_5cFSvYEdBed0dIbZfD4w-m-BM u`̵]hVR]hVQ{בCט{u׉׉ 7cassandra://kg7VqiOK71mUWGdDyqTjXcK_FfHIpvyuaim1By4R8zU\&` ׉ 7cassandra://50s1Nuiev0z1kr4aw82xsigRtyN7LtRfdGaQifzFpjI*0`S׉ 7cassandra://xiSJefX9Cr_V7ouKdUZNAYbrc5ll32UnWV9tP5xYkAs `̵׉ 7cassandra://zX7Jh3p4fhQBoU80tGueMl7aZLzthQGn2HB9vH6U1eM* ͠]hV~ט{u׉׉ 7cassandra://TiZG64C7ZVS7-qJOAUoAUy9wr5RzzSjmN5-yeD-4_hg` ׉ 7cassandra://vSgWXuFWG4JqzsuW1ymmsip2Nhy5_fTJ--NivlXWgNYBe`S׉ 7cassandra://urofbWRsXRkuq3zGQhid-ZzYBgAjhSMN5sPxS_yZH_8`̵׉ 7cassandra://6_PMpcWkZ1AIR9o-rFIzyPBTWFEVNuZfkCaopD3dMgUSM͠]hV׉EOFFSTONE BULLETIN EDITORIAL BOARD 1) Chief Editor 2) Managing Editor - - 3) Malay Language Editor - Dr Siti Suriani Othman Muhamad Zaki Mustafa Dr Rosninawati Hussin, Dr Rosidayu Sabran En Muhamad Zaki Mustafa 4) English Language Editor - Dr Rozita Abdullah Dr Safiyyah Ahmad sabri 5) Arabic Language Editor - Dr Ihab Ahmad Dr Osama Kanaker 6) Sub Editor - Dr Hizral Tazzif Hashim Dr Sofia Hayati Yusoff Dr Nur Kareelawati Abd Karim 7) Promotion 8) Website Designer 9) Student Editorial Representatives - - Dr Fauziah Hassan Al Imran Azmi - Nurhidayah Binti Bossley Muhammad Adib Bin Azhar Adliyah Binti Noor Habibullah Nur Syabirah Binti Zahari Khadijah Ulfah Binti Mohd Shahar ׉ 7cassandra://xiSJefX9Cr_V7ouKdUZNAYbrc5ll32UnWV9tP5xYkAs `̵]hVS׉EfTABLE OF CONTENTS CONTENT 1.0 AUTHOR’S DESK GREETING 2.0 OFFSTONE BULLETIN EDITORIAL ADVISORY BOARD International Advisory Board Members 2.1 2.2 Offstone Bulletin Editorial Board 3.0 TABLE OF CONTENTS 4.0 OFFSTONE ARTICLES (ENGLISH) 4.1 4.2 4.3 4.4 4.5 Promotional Content Model Of Aceh Tourism In Social Media by Ashabul Yamin Asgha Threat Of Hoax In Indonesian Journalism by Firmansyah S. Ikom Qur’an And Media Content by Dr. Osama Kanaker Gender And Religion In Gubra by Suria Hani binti A. Rahman Screening Islam In The Malay(Sian) Horror Films: A Brief Discussion by Suria Hani binti A. Rahman 4.6 Why Does User-Generated Content (Ugc) Matter? by Dr. Siti Suriani Othman 5.0 OFFSTONE ARTICLES (ARABIC) 5.1 ديدجلا مالعإلا by Ihab Ahmed Awais 4-5 6-8 PAGES 1 2-3 9-11 12-14 15-17 18-20 21-23 ةروث لظ يف يفحصلا لمعلا تايقالخأ 24-26 6.0 OFFSTONE ARTICLES (MALAY) 6.1 Orang Arab dalam bidang Penerbitan Akhbar dan Majalah di Malaysia Oleh Dr. Latifah Abdul Latiff 27-30 6.2 Pentingnya Kempen Pendidikan Larangan Merokok di Tempat Awam Oleh Dr. Mohamad Saifudin Mohamad Salleh 31-34 ׉ 7cassandra://urofbWRsXRkuq3zGQhid-ZzYBgAjhSMN5sPxS_yZH_8`̵]hVT]hVS{בCט{u׉׉ 7cassandra://vXiGQavsO3eJOp9g6l-ns0wTZoJh1nlKwo28EpgegRk>` ׉ 7cassandra://GV1SrHGbbYZ9ZiNpmDaIeKWSjeGUkulpxb2-YBW2qUc `S׉ 7cassandra://mH7dH_ksEzJFm2kA8YiMIyIq82pOHlZBx6WR0zh6eB4`̵׉ 7cassandra://lPAyupVREoN_LNuOM_q9cJCLLeJ9STZSVmMbmNUvk-U`͠]hVט{u׉׉ 7cassandra://h6DRjltr3Eu1Nu8B0_6pgNYo5RY1VVREvqNFexXKD_8` ׉ 7cassandra://FCTD8BM4uTDTta79bL1QVx25XWINpYypXhMlR6IRvlgJ`S׉ 7cassandra://TTkbRH0WI7XsQVZI15hhRc9A5Wkhtiv6CXQMEByR0Y4`̵׉ 7cassandra://6Tx86QF2Qkeu4Xq-2x1qFwG58F9zmNNRyyYxG_YF6EUI͠]hVנ]hVsρ̷9ׁHmailto:ay.asgha@unisba.ac.idׁ ׁ Ј׉EK6.3 Facebook dan Nilai Akidah Remaja Islam Oleh Muhamad Zaki Mustafa 35-37 ׉ 7cassandra://mH7dH_ksEzJFm2kA8YiMIyIq82pOHlZBx6WR0zh6eB4`̵]hVU׉E:Promotional Content Model of Aceh Tourism in Social Media Ashabul Yamin Asgha Universiti Islam Bandung ay.asgha@unisba.ac.id Executive Summary: Department of Aceh Culture and Tourism has social media accounts that are used to promote tourism destinations in Aceh, each published content, previously selected by rules and conditions, so that any content that finally appears on social media accounts is expected to attract interest of prospective tourists who will visit Aceh. Introduction Head of Department of Aceh Culture and Tourism said that Aceh tourism objects and attractions includes nature, cultural, historical, tsunami tourism, and culinary tourism (Head of Department). With all types of tourism available, certainly a promotion process is needed that can reach a broad audience in order to be able to attract tourists. The presence of social media that has influenced various lines of people's lives can also be used to promote exotic destinations, based on a study conducted by Ashabul Yamin in 2019, and attractions that have selling points to attract both national and foreign tourists. Based on research in 2017 at the Department of Aceh Culture and Tourism, it was found that not all existing tourism destinations are published on the Department of Aceh Culture and Tourism social media, there are rules related to what content and what will be published on their social media. Promotion Through Social Media Based on the results of the research, it was found that in the process of developing tourist destinations in its area, Aceh should focus on the development of three main areas that have been divided to facilitate the development process. The first area is Banda Aceh, Aceh Besar, and Sabang, the second area Aceh Tengah, Bener Meriah, and Gayo Lues, and the third area, Simeulue and Singkil. This selection is based on the ׉ 7cassandra://TTkbRH0WI7XsQVZI15hhRc9A5Wkhtiv6CXQMEByR0Y4`̵]hVV]hVU{בCט{u׉׉ 7cassandra://IlgPZwTzWIJxYF4f5nvIlXgVqEpF9RjNo4l34FJUT-sn` ׉ 7cassandra://99pkbNIQhXEUX2fKukpH8D-89aeTG-viMaGWttWbD4Qgv`S׉ 7cassandra://QdYocb1zPFQHG1ZeZw6Y-HdMq9rr2Xk1RQDh8A9TMtg`̵׉ 7cassandra://pRiw1ra2GlskxbOv9mV61EMT7xBR2xDbTlgcgRyRoHw:p͠]hVט{u׉׉ 7cassandra://aPOdWzMoHvY2Gaok6XH6R5kN4IiyKuJIAVSDBh0dn9g ` ׉ 7cassandra://JRyHqVnZ3me6CFIaJmW0Q5G8JSoAosyMFT1-Ecvs4CU:`S׉ 7cassandra://7BN-nXMVtShQf4Z5OtAD24RXWipG3vrVIruBJJVF_oA`̵׉ 7cassandra://usybCC5Z-zR0bQzcBdGSb48Ey2TpkK_-QktzSjLm01EtD͠]hVנ]hV~̰9׉H:https://www.atlantis-press.com/proceedings/agc-18/55911030Gׁ ׁ rנ]hVr$9׉H:https://www.atlantis-press.com/proceedings/agc-18/55911030Gׁ ׁ rנ]hVgA9׉HUhttp://disbudpar.acehprov.go.id/sambutan-kepala-dinas-kebudayaan-dan-pariwisata-aceh/Gׁ ׁ rנ]hVrXC$9׉HUhttp://disbudpar.acehprov.go.id/sambutan-kepala-dinas-kebudayaan-dan-pariwisata-aceh/Gׁ ׁ rנ]hVjF9ׁH(http://disbudpar.acehprov.go.id/sambutanׁ ׁ Јנ]hV̩9ׁHhttps://www.atׁ ׁ Јנ]hV H9ׁH http://press.com/proceedings/agcׁ ׁ Ј׉Eyease of access of tourist areas and the types of tourism that can be developed more easily and variably, so that promotional activities through social media are more focused on these areas. Related to the content uploaded on social media, Department of Aceh Culture and Tourism uses the tourist attraction parameters “THREE A”, as observed by Oka Yoeti in his book Perencanaan dan Pengembangan Pariwisata. Attractions that are presented whether it is worthy of publication, Amenities related to tourist facilities which are ready to accept tourists, including lodging, rest rooms, cleaning facilities, religious facilities, etc. that support tourist activities while in tourist attractions, and also the level of Accessibility to the tourist sites, reach to the nearest city, adequate road access, street lighting, and so on. So that if all three elements are met, then the related tourism object will be made content to be uploaded on its social media, including Twitter and Instagram. Besides creating its own content, Department of Aceh Culture and Tourism also included other parties to participate in promoting certain tourist destinations in Aceh's districts and cities on its social media, such as tourism ambassador by sending content of both photos or videos related to tourism in the area through contacts on its website or social media, so that later the content will be corrected and calculated for its feasibility to be published based on the rules discussed earlier regarding Attractions, Amenities, and Accessibility, and if the three criteria are met, the publication team will publish the content either on its social media or website. As the result of using social media in promoting Aceh attraction spots, there has been an increase in the number of tourists visiting Aceh Province since 2015 when Department of Aceh Culture and Tourism first launched their social media. Month/Year January-December 2015 January-December 2016 January-December 2017 Tourist Visits 1.717.116 Tourist 2.154.249 Tourist 2.364.383 Tourist Table 1 Number of Tourist Visits After the Use of Social Media Source: Aceh Provincial Culture and Tourism Office February 2018 ׉ 7cassandra://QdYocb1zPFQHG1ZeZw6Y-HdMq9rr2Xk1RQDh8A9TMtg`̵]hVW׉E:Conclusion Information and content available on social media are very diverse, so the selection of interesting content and in accordance with the promotion needs of social media owned by the Aceh Culture and Tourism Office is very crucial, with the result that the published content can increase the engagement and interest of the viewers to find out more about tourism in the province of Aceh who later chose to come to visit Aceh REFERENCES Asgha, Ashabul Yamin. (2019). Social Media as an Aceh Tourism Promotions Tool by Department of Aceh Culture and Tourism. Proceedings of the 1st Aceh Global Conference (AGC 2018). Accessed from: press.com/proceedings/agc-18/55911030 https://www.atlantisHead of Department of Aceh Culture and Tourism. Dinas Kebudayaan dan Pariwisata Aceh. Accessed from: http://disbudpar.acehprov.go.id/sambutan-kepala-dinaskebudayaan-dan-pariwisata-aceh/ Yoeti, Oka. A. (1997). Perencanaan dan Pengembangan Pariwisata. Pradnya Paramita. Jakarta. By: Ashabul Yamin Asgha obtained his BA from Syiah Kuala University, Aceh, and Magister in Communication at Padjadjaran University, Bandung, Indonesia. Now works as a lecturer at Bandung Islamic University, which focuses on public relations studies. His research interests are around tourism promotions trough social media and halal tourism promotions in Indonesia. ׉ 7cassandra://7BN-nXMVtShQf4Z5OtAD24RXWipG3vrVIruBJJVF_oA`̵]hVX]hVW{בCט{u׉׉ 7cassandra://fSqoM2a5G9sJN9MHJPwlQ1ClfbiBcAvg2r5YKaXeO5g` ׉ 7cassandra://XmvOsudf8nEfxjPBLktRUjtonsyJC4Zn1_Sc6qPZoOwbi`S׉ 7cassandra://BybUTfzNo0J-HeaYb8n0jL9PvNahfJUdIuTN6X-lJiw`̵׉ 7cassandra://O_NNtdQwZHYuzxG9xiF_n74JhW2DYF-_AcRt0HC7OEMU$͠]hVט{u׉׉ 7cassandra://Ifgwm5AaxKaxSjPByb2et9RKcYyu7vs-c01UXDEEpg8z` ׉ 7cassandra://VT4YKyLcr5ikq50HAugOYWYpMzupazYmfjRNhoTlxLQA#`S׉ 7cassandra://MgSbeW4F03OMiOo5sVF00dSDyKszCALx2YH_otvUNp0`̵׉ 7cassandra://w2HM6aUP8-nd8vFEEfFoQjtqE0iE3K8HH1Lgn_0mekIS͠]hVנ]hVr}9׉H[https://www.kominfo.go.id/content/detail/9222/media-arus-utama-melawan-hoax/0/sorotan_mediaGׁ ׁ rנ]hVr̹9׉H[https://www.kominfo.go.id/content/detail/9222/media-arus-utama-melawan-hoax/0/sorotan_mediaGׁ ׁ rנ]hVue9ׁH3https://www.kominfo.go.id/content/detail/9222/mediaׁ ׁ Ј׉E fTHREAT OF HOAX IN INDONESIAN JOURNALISM Firmansyah S. Ikom Bandung Islamic University firmanmalmstein@gmail.com Executive Summary: Information search on Indonesian television news uses social media as a source. Because of that, there are high possibilities that the news on television could be affected by hoax information from the usage of such social media. As a result, the confirmation and verification process of the information is challenged with the speed of information in the midst of media competition, especially television. Introduction Journalism in Indonesia is experiencing a crisis. The proliferation of fake news related to coverage of a number of major political events is a major challenge that gave impact to the media sector. Fake news (hoax) proliferate fertile towards the election. Journalism in Indonesia is threatened with exposure to hoaxes. News in Indonesia is easily exposed to hoaxes due to the rapid large amount of information spread over the Internet. The mass media, especially television which prioritizes speed is threatened to deliver hoax news because it is pursued by airtime. Scattered information that has not been confirmed and verified makes the program stakeholders (news producers) of television stations confused. Prudence and information verification are challenged with the speed of information spread and at the same time reporting in the midst of competition between television stations. Social Media Hoax Threat Towards Television Journalism In this study, a descriptive method approach was used to provide an overview of the possibility of news hoaxes that might occur on television. The process of data collection was conducted by interviewing informants from the national news television producers in Indonesia. The interviewees were Mia Ilahude (Kompas Tv), Arif Perkasa (iNews), Ronald Panggabean (Tv One), and Kevin Egan (Metro Tv). All informants acknowledged that there might be mistakes or they might be delivering hoax news when speed is the key now, especially on television. The verification and clarification process are sometimes ruled out. Information usually conveyed without any clarification and verification. In addition, television news now is not only competing between televisions but also with online media. According to them, in the process of verifying the news, sometimes they search for information through online channels from social media, such as Facebook, Instagram, and Google. However, they usually search from a credible source or media channel. But surprisingly, they do not make these as their main reference. If the news source appears first on social media, the seeking of information process will be from social media itself. There are also times when information came from unexpected sources including social media. Now many people with sophisticated cellphones record events or things that happen around them and upload them ׉ 7cassandra://BybUTfzNo0J-HeaYb8n0jL9PvNahfJUdIuTN6X-lJiw`̵]hVY׉Eximmediately. But usually the news producers can only post them after they get the consent from the owner of the videos. To overcome hoaxes, all coverage that will go on-air must go through the editorial meeting mechanism. During the meeting, they should choose valid or credible sources of the information. After that, they should reverify and determine which ones are worth to go on-air. Perhaps, this mechanism can be a deterrent for hoax news if it is applied for every television news. Conclusion The information of the news coverage in the mainstream media that were retrieved from social media is sometimes a separate trap for news program stakeholders because it is not impossible that at many times, circulating or viral information is actually hoax information and disseminated for the purpose of certain interests. The principle of journalism in determining its news and packaging must be based on news value because it risks the credibility of the news itself. Without confirmation and verification, journalism in Indonesia is threatened to report hoaxes. REFERENCES Dainton, Marianne and Zelley, Elaine D. 2011. Applying Communication Theory for Professional Life: A Practical Introduction. 2nd Edition. Thousand Oaks: SAGE Publications, Inc. Iyengar, S., & Kinder, D.R. (1987). News that matter: Television and American Opinion. Chicago: The University of Chicago Pers. McQuail, Denis. 2010. McQuail’s Mass Communication Theory. 6th edition. London: SAGE Publications. Mcintyre, Lee. 2018. Post – Truth. Cambridge, Massachusetts: The MIT Press https://www.kominfo.go.id/content/detail/9222/media-arus-utama-melawanhoax/0/sorotan_media ׉ 7cassandra://MgSbeW4F03OMiOo5sVF00dSDyKszCALx2YH_otvUNp0`̵]hVZ]hVY{בCט{u׉׉ 7cassandra://YI85SxcByY9IqoX5A6kzc0qx4iXDMmz_vQUY1yAsjp8K8` ׉ 7cassandra://aaVidX8u-VIV1x5I-Vvog-5IpESZlN4cMyNKj23l7jUu`S׉ 7cassandra://JLI7Ldo3VxwGZMlKi57Xg0onxaJc-aUokpqQYFO3mb8(`̵׉ 7cassandra://jxOvMl8YPhElLY9Zf-uyHDduwVqx2fzX8d4fDjhuteY1z͠]hVט{u׉׉ 7cassandra://qPPnZuBGgJaJWKQKAzM5n7KXOa9i5GlaD54egZUc8tQ` ׉ 7cassandra://nKdL6GNJTxhfrlVC8UkE1K48_l6y3eOc2ice-jbz3tYSt`S׉ 7cassandra://tiDW-pDcP2_WnmWbA5VAkQjO23nmgerXNiy_v9Q9pGg|`̵׉ 7cassandra://DL1X6qDPXJOC1TGwixntlEuC_gHtu7kcFzRpxseW8JAn`͠]hVנ]hVt̴$9׉Hmailto:osama@usim.edu.myGׁ ׁ rנ]hVw̭9ׁHmailto:osama@usim.edu.myׁ ׁ Ј׉EBy: Firmansyah S.Ikom., M.Si obtained his BA from Communication Faculty at Padjadjaran University, Bandung, Indonesia with major journalism studies. And the Magister from University of Indonesia with major Communication Management. Now works as a lecturer at Bandung Islamic University, which focuses on journalism studies. His research interests are around the media and journalism studies in Indonesia. ׉ 7cassandra://JLI7Ldo3VxwGZMlKi57Xg0onxaJc-aUokpqQYFO3mb8(`̵]hV[׉EQur’an and Media Content Dr. Osama Kanaker Universiti Sains Islam Malaysia osama@usim.edu.my Executive Summary: Media have been developing from written to print to broadcast and finally to interactive or social media. However, media content remains the same despite the change in the production techniques. This article highlights pivotal content for the media based on the titles of the Qur’anic chapters where the noble Qur’an is the life guide for Muslims. Introduction Content of media in Islamic countries should basically reflect the image of Islam. The noble Qur’an is an endless source of knowledge and ideas. Every generation discovers from the noble Qur'an new thoughts. Dr Mustafa Kanakir in his book published in 2007 about Islamic television channel emphasized that media content should make the Qur’an its main source. Even though media content is being transformed to a personal rather than institutional production, the expensive content like drama and documentaries remain in need of team production such as production companies and production houses. Lindsay Wise in her article published in 2005 stated that Sheikh teaching is not enough and listening to Qur’an and Sunnah also not enough in the age of secular entertainment. The content should be in different forms such as drama, documentary and cartoon. An overall glimpse at the titles of the noble Qur’an chapters brings to light numerous themes for media content. Only four essential themes will be introduced in this article. Qur’anic Media Content Wise in his study of ethical reality television states that traditional Islamic television programs lead to misrepresentation of Islamic media and message. The term Qur’anic Media Content refers to the content that is inspired by the noble Qur'an. Content inspired by the noble Qur'an can be produced in different formats such as drama, documentary, competition, game show, chant show and even talk show. The four themes to be introduced are belief in Allah, belief in the hereafter, Prophet Muhammad, ׉ 7cassandra://tiDW-pDcP2_WnmWbA5VAkQjO23nmgerXNiy_v9Q9pGg|`̵]hV\]hV[{בCט{u׉׉ 7cassandra://Y22asygXxKiGCnAII_xYwXcCZm-PNx0vNx_pIDP-JZQ` ׉ 7cassandra://5w5KghadIkXIZ7CpzPqTVkMs6ejCDG3TvH-UF80VFxgk`S׉ 7cassandra://HTiaDWZwEG_EmHbjn4-W86O-FeiJ27hi33lzU8MiUzY`̵׉ 7cassandra://ZLaeefCBIkn4w3Gee8cOJWTjJ5e1AU9sm8AJ3ouVyQQ^T͠]hVט{u׉׉ 7cassandra://4NvsU8TSj08oye9IpPmqOJ1fhnpWht3EZOYm_mmhylk` ׉ 7cassandra://Jjlqri7c8VHai6Z1VuDlZ-N2M1-lQmNsfUCI6sHlfLo%)`S׉ 7cassandra://D-1Z67IIkhMULRCLZFMXsN_DdtVmOq-UfRYMKxLe3Qs `̵׉ 7cassandra://S381W-YHYnOwvcaKJfs-mYqv3yuxKpKnzsDLmnz-dAU`.͠]hV׉Exand the universe. These themes have to be dominant and prominent in the media to bring back audience to the straight path of Allah (SWT). First, believing in Allah (SWT) is a fundamental concept in the noble Qur’an. It is represented in the chapters of, but not limited to, Al-Mu'minun (The Believers), AnNur (The Light), Fatir (The Originator), Ar-Rahman (The Beneficent), Al-A'la (The Most High) and Al-Ikhlas (The Unity). The Translation of the Qur’an chapters’ titles is according to Saheeh International translation published in 1997. Second, believing in the hereafter is another prominent theme in the noble Qur’an. It is manifested in the chapters of az-Zumar (The Groups), al-Jathiyah (Crouching), alWaqi'ah (The Event), al-Hashr (The Gathering), at-Taghabun (Mutual Loss and Gain), al-Haqqah (The Inevitable), al-Ma'arij (The Ways of Ascent), al-Qiyamah (The Resurrection), an-Naba' (The Great News), al-Ghashiyah (The Overwhelming), azZalzalah (The Earthquake) and al-Qari'ah (The Striking Hour). Third, Prophet Muhammad (BPBUH) is an abundant theme in the noble Qur’an. Some of the chapters that represent the life of Prophet Muhammad are Al-Isra’ (The Night Journey), Ta Ha, Muhammad, Al-Hujurat (The Apartments), Al-Muzzammil (The One Covering Himself), Al-Muddaththir (The One Wrapping Himself Up) and 'Abasa (He Frowned). Finally, the noble Qur’an draws our attention to study the universe to discover the greatness of its creator. The theme of universe is evident in the chapters of ar-Ra’d (The Thunder), ad-Dukhan (The Smoke), an-Najm (The Star), al-Qamar (The Moon), at-Takweer (The Overthrowing), al-Infitar (The Cleaving), al-Inshiqaq (The Splitting Asunder), al-Buruj (The Big Stars), at-Tariq (The Night-Comer), al-Fajr (The Dawn), al-Balad (The City), ash-Shams (The Sun), al-Layl (The Night), adh-Dhuha (The Forenoon), al-‘Asr (The Time) and al-Falaq (The Daybreak). Conclusion The noble Qur'an is the intrinsic source of media content. Content producers have to obtain their contents from the noble Qur'an. The noble Qur'an is not limited to the four themes mentioned above, but it is a boundless source for media content. ׉ 7cassandra://HTiaDWZwEG_EmHbjn4-W86O-FeiJ27hi33lzU8MiUzY`̵]hV]׉EREFERENCES Kanakir, Mustafa. (2007). Al-I’lam al-Islami abr al-Qanawat al-Fadaiah Dirasah Tatbiqiah ala al-Qanawat al-Fadaiah al-Arabiah Iqra wa al-Majd wa al-Manar. (PhD. Thesis). Islamic Science University of Malaysia. Saheeh International. (1997). Translation of the Meaning of the Qur’an. Jeddah. Wise, Lindsay. (2005). “Whose Reality is Real? Ethical Reality TV Trend Offers ‘Culturally Authentic’ Alternative to Western Formats”. Transnational Broadcasting Studies TBS. By: Osama Kanaker is a senior lecturer at Communication Program, Faculty of Leadership and Management, Islamic Science University of Malaysia. His field of interest is Islamic communication. ׉ 7cassandra://D-1Z67IIkhMULRCLZFMXsN_DdtVmOq-UfRYMKxLe3Qs `̵]hV^]hV]{בCט{u׉׉ 7cassandra://H7ZmRi8DfxkbCZRqtRuYlldbSIAaOlnTib3qfQhVKrc` ׉ 7cassandra://cc6RQPIxKF3n5irDCh_3-CzbKv6udq5WjbC2buPTysMU`S׉ 7cassandra://Ud7-gbMrUgKZH1zHQWsvDTQ4QQDfblENurHZAMavu_E`̵׉ 7cassandra://rXZz7OiOfI_hYD49gBvqWZKOrJSNTBWYQdLvBbgtNn0s*͠]hVט{u׉׉ 7cassandra://jeHxFtOxEf9UEQY3EyLwcKt2jyhvXDVoN6sd4plxg1I` ׉ 7cassandra://J-C0PJJR0ZoJETPhnnUCaqdpRizoHA0AKnC2R-GRSzQlZ`S׉ 7cassandra://W9B1SuGEqqQLsdFommmB3RLHDoRiWO7na2bxBg73WGc)`̵׉ 7cassandra://_P73NWsEi2ejUeJrOm-We9hImzRcHglvhQ-zc43ckCIEl͠]hVנ]hV#9׉Hmailto:suriahani@usim.edu.myGׁ ׁ r׉E9Gender and Religion in Gubra Suria Hani binti A. Rahman, Rosidayu Sabran, Rosninawati Hussin, Sofia Hayati Yusoff, Selvarani a/p P.Kovil Pillai Universiti Sains Islam Malaysia suriahani@usim.edu.my Executive Summary: This paper highlights how the ‘critically-acclaimed’ film, Gubra (literal translation: anxiety) released in 2006 and directed by Yasmin Ahmad shape the way in which gender and religion/Islam is represented. The article will briefly explore film that articulate issues related to recurrent themes in a contemporary Malay film – i.e. family problems and societal conflict - in a less mainstream way. Introduction From mainstream and commercial films to alternative and independent filmmaking, there is always a meaning-making process that allows a film to be interpreted by the audience. The film Gubra were chosen to provide significant insights and contradictions in negotiating about gender and religion, as reported in Reuters in 2009 that most of Yasmin’s films are known to be controversial in the local film industry, primarily for ‘being critical in exploring sensitive subjects such as interracial relationships and religion’. Local and regional film scholars including Professor Khoo Gaik Cheng, Dr. Norman Yusof and Dr. Lee Yuen Beng also acknowledged Yasmin’s film for being ‘too liberal’ and ‘unrealistic’ and ‘unnecessarily’ challenging Islam and the Malay-Muslim status-quo in Malaysia. A renowned film theorist, Professor David Bordwell in 1989 elaborates that making films involves the construction of meaning out of the textual cues in the film, and the same textual element may be interpreted differently in different contexts. For example, the theme of love may be represented differently in different genres and sociocultural contexts, hence highlighting the diverse meaning of love in relation to, for example, religion Gubra: A Discussion on Gender and Religion in Malay(sia) From mainstream and commercial films to alternative and independent filmmaking, there is always a meaning-making process that allows a film to be interpreted by the ׉ 7cassandra://Ud7-gbMrUgKZH1zHQWsvDTQ4QQDfblENurHZAMavu_E`̵]hV_׉E Daudience. Film Gubra, according to Dr. Norman, have propelled the director to the forefront of contemporary Malaysian cinema and simultaneously displayed the cinematic vision of ‘art film.' Art film in typical, draws on the connection between stylistic appeal and the author-centred narration strategy, as Professor David Bordwell and Dr. Kristin Thompson in 2010, reiterate that many art filmmaking movements engaged with the social and political upheavals of the era. In brief, Gubra - the sequel to Sepet and is set a few years after the initial love story of Orked and Jason - portrays the lives of two conventional families; both are forced to adapt to change in the face of adversity. In specific, this film portrays the life of sex workers (character of Temah and Kiah) and a bilal family in the same neighbourhood. Discussions on religion in this film are articulated through the contestation of the Malay-Muslim identity (for example, the events about the bilal and the ‘untouchable’ subject matters of a dog and a sex worker). A recent research conducted by Suria Hani A.Rahman in 2019 found that these Malaysian art films articulate that religion in general (and Islam in particular) is a manifestation of the specific conditions of a Malaysian multi-cultural society. From a gender discourse point of view, Gubra problematises women’s position within the modern patriarchal society. Although Temah is portrayed as a single mother, who works as a sex worker (together with Kiah), the plot reflects women’s perspectives within their confined universe. On the contrary, their neighbours – the bilal and his family – are established in the role of ‘helpers’ that provide comfort to Temah, her son, and Kiah in their quest for love and happiness. Conclusion Narratively, Gubra reframe anxiety over Malay-Muslim sensitivities (i.e. race, religion and gender within a multicultural Malaysian society). The film challenges taboo subject in Malaysian society – e.g. patriarchal/domestic abuse and inter-ethnic relationships. As the above analyses have shown, the art film by Yasmin Ahmad mobilises Islam to execute a critique of Malaysian society and its inequality and suppression of women both in family and society. Therefore, it is worth to underline that she can be considered an Islamic director despited all the criticism from conservatives. ׉ 7cassandra://W9B1SuGEqqQLsdFommmB3RLHDoRiWO7na2bxBg73WGc)`̵]hV`]hV_{בCט{u׉׉ 7cassandra://IlypZKPAqPY-ofTQmSmxWYfP66-cKlAq_sYA71wX_Gom` ׉ 7cassandra://WVFefLo8v7l3gozuYoO45xPNKxNbkF4De9QojNM4MVU4`S׉ 7cassandra://tMaCnT_i6ypulVvDrGBbX-I1bTKHEH47uDhdfDMq9eA`̵׉ 7cassandra://BB9iRTUCx88bn6_V7Yq4lwrGVdxE4ttz-fojz2lQpIcͅ`͠]hVט{u׉׉ 7cassandra://MQA4ges04NnnCpcQEm1EEyQ_B9DurWYZiBcXpYKkGf8:` ׉ 7cassandra://qQnKdDW_IexlFmVhkbWc-pZcazLiIKUf_QhcjdcMFUQ[`S׉ 7cassandra://QtgzHOnwyWLmZFV8Cv6BIkoV-0LcL8xFIoKRuzACi7Il`̵׉ 7cassandra://XDi7mKmTuSMSmK-ouL_NF3ccs5dGD0UNTRcgaSumn4Mg͠]hVנ]hVkԁ9׉Hmailto:suriahani@usim.edu.myGׁ ׁ rנ]hVm؁9ׁHmailto:suriahani@usim.edu.myׁ ׁ Ј׉EREFERENCES Beng, L.Y. (2015). Yasmin Ahmad: Auteuring a New Malaysian Cinematic Landscape. Wacana Seni, 14, 87-109. Bordwell, D. (1989). Making Meaning: inference and rhetoric in the interpretation of cinema. Cambridge, Massachusetts: Harvard University Press. Bordwell, D. & Thompson, K. (2010). Film History: An Introduction, Third Edition. New York: McGraw Hill. Khoo, G.C. (2007). The Politics of Love: Malaysia’s Yasmin Ahmad. Metro Magazine, 52-57. Norman Yusoff (2011). Sepet, Mukhsin, and Talentime: Yasmin Ahmad’s Melodrama of the Melancholic Boy-in-Love. Asian Cinema, 22 (2), 20-46. Suria Hani A.Rahman (2019). Screening Islam: The representations of religion and gender in different genres of Islamic films in Malaysia. Unpublished doctoral dissertation. Loughborough University. February 2019. By: Suria Hani A.Rahman, PhD, is a lecturer in Communication Program, Faculty of Leadership and Management in Universiti Sains Islam Malaysia (USIM). She obtained her PhD from Loughborough University, UK, majoring in Media Studies. Her main research interests are film and television studies, specifically in broadcasting and narrative analysis including the representation of religion/Islam and gender in film/TV content. ׉ 7cassandra://tMaCnT_i6ypulVvDrGBbX-I1bTKHEH47uDhdfDMq9eA`̵]hVa׉EScreening Islam in the Malay(sian) Horror Films: A Brief Discussion Dr. Suria Hani binti A.Rahman Universiti Sains Islam Malaysia suriahani@usim.edu.my Executive Summary:This paper highlights how horror films shape the way in which Islam is represented in Malay films. In specific, the article will briefly explore the horror genre and its representation in film, and then highlight how the monstrous threat and the mainstream society are portrayed in the Malay horror films. Introduction In general, this paper highlights the idea that the usage of language, including cinematic language, has always been politicalized and interlaced with power. Proposed by well-known scholar Stuart Hall in a book Culture, society and the media in 1982, “language and symbolisation lead to the politics of signification, involving an ideological power to signify events in particular ways.” From that, it can be said that “language” consists of an intersection between power, the events (i.e. issues), the thoughts (i.e. expression of ideas) and a set of signs (i.e. words, sound and image) in a meaning production, which Hall in 1997 termed as r epresentation. Screening Islam in the Malay Horror Films According to Professor Celestino Deleyto in 2012, an expert in film theory and analysis, film genres “are categories, ways of explaining the world, which are believed to function like predictable machines that the human being will be able to wholly control.” The genre characteristic also allows critics to recognise, appreciate and articulate similarities and differences among films, as Professor Barry Keith Grant in 2007 stated that genre films feature standard ways of representing gender, class, race, ethnicity, as well as what is being highlighted in this paper; religion. As a cultural product, a film is regarded in Malaysia as being significant to disseminate the brand of Islam. Indeed, investigating Malaysian film under the lens of genre helps to highlight an apparent contradiction that characterises the circulation of genre conventions across different national, cultural, and linguistic contexts. The contradiction may happen even at the level of a single filmic text, as in the analysis conducted by Suria Hani A. Rahman for her PhD research in 2019 that a film, in fact, ׉ 7cassandra://QtgzHOnwyWLmZFV8Cv6BIkoV-0LcL8xFIoKRuzACi7Il`̵]hVb]hVa{בCט{u׉׉ 7cassandra://fUINJcorS6Z7FUAap1jh_4LCZCiq7CRx68SijxThIIk8e` ׉ 7cassandra://jphTGSwajVKalo86M7OE2PBJFgO44fdaX0C8Bmn61lQ]x`S׉ 7cassandra://9oX4p6ewu83E87dbCdtsG3lAXbqu5RmHB5zY4vHjRJEE`̵׉ 7cassandra://7OC1QR0-opEmec0FG4Hsk6Lyhs4j4vP0GhQARilonQc