In a somewhat assertive sentence, the film was not only successful in attracting non-movie goers to go to the cinema but was also successful in having the members of Islamic learning groups take their religious lesson from the cinema. (Islamic learning group for women Muslims) and other veiled Muslim women who were not used to attending a Not only did it acclaim huge popularity, but also it was watched by the members of The filmвЂ™s public screening was a phenomenon. In the end, Fahri is severely confused by the circumstances forcing him whether to choose a monogamous or polygamous family. Everywhere he goes, he becomes the center of attention and is adored by many women different in character, such as Maria, Nurul, Noura, and Aisha.

Even though, for religious reasons, he does never intend to have any love relationships with any woman before marriage, his perfect character is reason enough for any woman to fall in love with him. His language skills allow him to earn money from translating works written in those four foreign languages into Indonesian, in order to pay for his life and education in Egypt. He is depicted as a devout Muslim having excellent understanding of Islam, memorizing by heart all the verses of the QurвЂ™a> n, and having the ability to speak four international languages Arabic, English, French, and German. The film starts with the description of the main character, Fahri, an Indonesian graduate student at Al-Azhar University, coming from a poor family in Central Java. Journal of Indonesian Islam ISSN1978-6301 Ahmad Nuril HudaДЄdaptation of a national best-selling novel with the same title written by Habiburraman el-Shirazy. Published by the Institute for the Study of Religion and Society (LSAS) and the Postgraduate Program (PPs), the State Institute for Islamic Studies (IAIN) Sunan Ampel Surabaya - Indonesia Submitted to the Program of Islamic Studies, the Faculty of Humanities, Leiden University, 2009. This paper is part of my MasterвЂ™s thesis entitled вЂњWhen Ayat-ayat Cinta Goes toД¬inema: A Moving Picture of DaвЂ™wa, Politics and Fragmented Religious Authority,вЂќ The most recent evidence of 1 this is Hanung BramantyoвЂ™s Islamic film Ayat-ayat Cinta, which is an Its dynamicity is partly indicated by the increasing number of Indonesian film productions, one of which is the Islamic genre film. IntroductionДЄfter the 1998 Indonesian Reform, the development of Indonesian cinema becomes very dynamic. Keywords: Ayat-ayat Cinta, public sphere, and fragmented religious authority. In these debates, participation is widely open to all, and argumentation is not based on superiority. More importantly, the wide publication of the film on the internet and mass media has enabled all individuals to take part in the debates raised by the film.

The paper finds out that the film Ayat-ayat Cinta has arguably invited Muslim people to have their religious teaching in cinema. It operates on three levels: first, the audiencesвЂ™ perception of the film as a da`wah and their reactions toward the filmвЂ™s contents second, the rivalry between the novel writer and the film director on particular issues distancing the film from its novel version and third, the public debates on the issue of polygamy revealed by the film.

Screening of the novel Ayat-ayat Cinta shapes an Indonesian Muslim public sphere in which the notion of religious authority is re-created. UIN Maulana Malik Ibrahim, Malang вЂ“ IndonesiaДЄbstract: This paper examines how the filmвЂ™s public 1 The Making of a Muslim Public Sphere in Indonesia

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