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RESEPSI GENERASI Z MUSLIM DI INDONESIA TERHADAP KONSTRUKSI NILAI ESKATOLOGI ISLAM DALAM FILM SIKSA NERAKA (2023)

Introduction

Resepsi generasi z muslim di indonesia terhadap konstruksi nilai eskatologi islam dalam film siksa neraka (2023). Telusuri resepsi Generasi Z Muslim Indonesia terhadap nilai eskatologi Islam dalam film Siksa Neraka (2023). Pahami makna pesan keagamaan dari dakwah hingga kritik, dipengaruhi latar belakang.

Abstract

Film telah berevolusi menjadi salah satu medium yang paling efektif untuk menyampaikan pesan, termasuk isu- isu keagamaan. Salah satu karya yang berhasil menarik perhatian dan memicu perdebatan adalah film horor Siksa Neraka (2023), yang secara dramatis dan visual mengkonstruksi nilai eskatologi Islam. Penelitian ini bertujuan untuk menganalisis bagaimana Generasi Z Muslim di Indonesia meresepsi dan memaknai pesan-pesan tersebut. Dengan menggunakan pendekatan kualitatif dan metode analisis resepsi model Stuart Hall, data dikumpulkan melalui wawancara mendalam dengan delapan informan. Hasil penelitian menunjukkan adanya keragaman pemaknaan yang terbagi menjadi dua posisi utama. Pertama, posisi dominan-hegemonik, di mana audiens menerima film sebagai media dakwah yang efektif dan pengingat spiritual yang kuat, sejalan dengan tujuan pembuat film. Kedua, posisi negosiasi, di mana audiens menerima pesan inti tentang eskatologi, namun mengkritisi pendekatan horor yang dianggap mengurangi kesakralan pesan agama. Variasi pemaknaan ini dipengaruhi secara signifikan oleh latar belakang pendidikan Islam, lingkungan sosial, dan tipologi keagamaan masing-masing individu. Penelitian ini menyimpulkan bahwa film adalah teks yang bersifat polisemi dan audiens Generasi Z bukanlah penerima pasif, melainkan aktor aktif dalam proses komunikasi.

Review

This study offers a timely and pertinent exploration into the reception of Islamic eschatological values as depicted in the film *Siksa Neraka (2023)* among Generation Z Muslims in Indonesia. The choice of film as a powerful medium for conveying religious messages, coupled with the focus on a crucial demographic, highlights the research's significant relevance in contemporary media and religious studies. The methodological approach, employing qualitative analysis through Stuart Hall's reception theory and in-depth interviews, appears sound and appropriate for uncovering nuanced interpretations. The identification of diverse meaning-making, categorised into dominant-hegemonic and negotiated positions, provides valuable insights into how young audiences actively engage with and interpret culturally and religiously significant texts. While the study presents compelling findings, certain aspects could benefit from further elaboration or consideration. The sample size of eight informants, while sufficient for a qualitative inquiry aiming for depth, may limit the generalizability of the findings to the broader and highly diverse Generation Z Muslim population in Indonesia. A discussion on the representativeness of this sample, or perhaps a more explicit acknowledgment of its limitations in this regard, would strengthen the paper. Additionally, while the abstract mentions the influence of "background pendidikan Islam, lingkungan sosial, dan tipologi keagamaan," a brief indication of *how* these factors specifically shaped the observed "negotiated" positions, beyond general terms, could enhance the conceptual depth and provide clearer pathways for future research. Despite these points, this research makes a valuable contribution to understanding the complex interplay between popular culture, religious discourse, and youth reception. It powerfully demonstrates that Generation Z audiences are not passive recipients but active interpreters, shaping the meaning of media texts based on their individual contexts. The findings have important implications for filmmakers, religious institutions, and educators who aim to communicate religious values through modern media, underscoring the necessity of considering varied audience perspectives. This study lays a strong foundation for future research, perhaps exploring larger or comparative samples, different film genres tackling religious themes, or delving deeper into the sociological and theological underpinnings of audience resistance and negotiation.

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