Alfi Arifian

Film is a literary work. This long debatable statement brings film to actual proof that film is a modern act of stage or drama since it has similar aspect by using symbol, index and complex audio-visual metaphoric icon as language medium. Referring to Plato’s theory of literature that it is an imitation or depiction of reality, represents most theme of film which brings message based on reality. According to Ahmad Badrun (1983:16) that literature is the art activities that use language and other symbols, and imaginative, is another proof that film is a part of literary work. Since then, in Indonesian terminology here comes new combination between both cinematography and literature; that is literary film.
This term exists since post-ecran of Habiburrahman El Shirazy’s best remembered novel Ayat-Ayat Cinta. Indonesian literature devotees mention the novel as the birth of “sastra santri” which then followed by numerous authors in the veil of religious theme. Thus, it defies other theme of film such as bringing common hedonism and sexuality as not literary. If film is literary work, then all films will have to be literary. That is why it needs redefinition upon the term literary film since it creates dichotomy in film genres.

Keywords: literary film, Plato’s theory of literature, sastra santri, ecran, redefinition.

According to Horatius a literary work has two functions, Dulce et Utile”, which mean aesthetic and beneficial. One of the greatest Indonesian classical literary works, Di Bawah Lindungan Ka’bah, written by Haji Abdul Malik Karim Amrullah famed as HAMKA, covers both functions. The novel presents the aesthetic of ill-fated love story that is forcedly ended because of unsuited strata between both Hamid and Zainab, whether the unmatched between both lovers are of economic problem, social status, and even classical reason which fortified love and man's bravery upon proposing the woman. This love is finally recorded as the ill-fated love story for the love of both is brought to the grave. It naturally becomes the “dulce” for the readers because HAMKA was a religious figure, there have been implicit messages in his work and represent the life of HAMKA, or even his society at that time. It also brings benefits for the readers because the construction of love between both Hamid and Zainab was built on pure faith and respective norm.

It is not something new when two people are speaking in two different languages simultaneously, especially if the phenomenon is influenced by social factor – lifestyle or even race. Same nation does not guarantee the same racial inborn, moreover if it happens in the stretched land that we call Indonesia. Our country consists of various kinds of race and local languages, but as one nation we are united under the same language, the lingua franca proclaimed as national language, Bahasa Indonesia. Hence, we frequently meet the case of native who speaks in the mixed Bahasa Indonesia and local language.
First, Bahasa Indonesia is not our first language. Unfortunately, it is the second one. When the Indonesian was born, s/he recognizes his or her local language naturally. Beyond the limit of certain age, the Indonesian was introduced to a foreign word which is called Bahasa Indonesia at school. Perhaps this is what I am able to mention as the common case, because nowadays case proves that some newly households implement communication in both Bahasa Indonesia and bahasa daerah, even English or any other foreign languages. In some region, if we do search in scavenger hunt, we can find that certain people choose to dedicate themselves in preserving their own local language rather than Bahasa Indonesia, while it requires some theories that the civilization does not reach their land. It becomes the reason why local language is so influencing in Bahasa Indonesia daily usage that turns up a phenomenon in recent days known as “code switching” and “code mixing”.

Redefinisi Kaum Paderi merupakan konsep pendefinisian Kaum Paderi berdasarkan metodologi genealogis yang menulis sejarah berdasarkan kerangka kekinian. Definisi ini berbeda dari definisi Kaum Paderi dalam pandangan sejarah umum. Redefinisi ini dimaksudkan untuk memetakan gerakan Paderi berdasarkan konsep kekuasaan berbasis keamiran melalui gelar Tuanku Imam Bonjol merujuk kerangka kekuasaan nagari (balad-dalam pemahaman imamah). Tujuan pemetaan gerakan Paderi adalah membuktikan (secara teori) bahwa ada dikotomi di tubuh Paderi sebagai gerakan pemurni Islam serta yang bersifat radikal. Dikotomi inilah yang digunakan sebagai dalih untuk membangun wacana rekonsiliasi antara etnis Minangkabau-Batak lantaran konflik masa lalu "Perang Paderi" jilid I.

Redefinition upon " Kaum Paderi " is back-grounded by historical conflict of long-term aftermath in Paderi War involving two major Sumatran races, Minangkabau and Batak, which remains closed conflict caused by ambiguous local historical sources, tambo (Minang term) or turi-turian (Batak term). Upon the emergence of book authored by Ir. Mangaraja Onggang Parlindungan (MOP) entitled " Tuanku Rao; Teror Agama Islam Mazhab Hambali di Tanah Batak 1816-1833 " which was firstly published in 1964 sharpened this closed conflict issue. Hamka then responded with " Antara Fakta dan Khayal: Tuanku Rao " in 1974 as he attempted to reduce conflict and deny public perception constructed through Parlindungan's book about Minang people's viciousness during the propagation campaign of " Kaum Paderi ". Redefinition upon " Kaum Paderi " through genealogical methodology is the root of solution to change mindset with final result of reconciliation between Minangkabau and Batak. The product of this theory can change the course of history and giving comprehension to the people about dichotomy in Paderi.