REPRESENTASI KEBUDAYAAN ISLAM DI THAILAND DALAM FILM HOROR THE CURSED LAND

Dini Aghnny Khoiriyah, NIM.: 22102010021 (2026) REPRESENTASI KEBUDAYAAN ISLAM DI THAILAND DALAM FILM HOROR THE CURSED LAND. Skripsi thesis, UIN SUNAN KALIJAGA YOGYAKARTA.

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Abstract

Thai horror films are generally dominated by Buddhist cultural backgrounds. However, The Cursed Land, directed by Panu Aree, presents a different phenomenon by integrating Islamic culture as a major element in its narrative and visual representation. The film portrays the lives of two Buddhists living in Nong Chok, an area where most residents are Muslims. They attempt to protect themselves from various supernatural disturbances. This uniqueness makes the film an important object of study, especially since it won the Best Horror Film award at the Winter Film Festival in New York in 2025. This research aims to reveal how Islamic culture in Thailand is represented in The Cursed Land. Representation in this study is understood as the process of producing meaning through language and symbols. This research uses a qualitative approach with Roland Barthes’ semiotic analysis and Stuart Hall’s theory of representation. The data were obtained from film scenes containing symbols, dialogues, costumes, settings, and other cinematic elements related to Islamic culture. The results show that The Cursed Land represents Islamic culture in Thailand through two main forms. First, the religious and spiritual aspects, which include monotheism and submission to Allah’s will through the recitation of Ayat Kursi, diversity and unity through the cooperation between Heem and Bibi Zainab, equality, tolerance, and brotherhood through the interaction between Muslim residents and Mit and May as Buddhists, appreciation of knowledge through architectural lecture scenes, generosity and hospitality through the tradition of sharing food with new neighbors, as well as dynamic and progressive characteristics through the use of amulets as a result of acculturation with local traditions. Second, the non-religious aspects, which include art through calligraphy as decoration in mosques and houses, architecture through the presence of mosques as centers of social and spiritual life for Muslim communities, and clothing traditions through the use of peci, sarong, koko shirts, and hijab in the daily lives of Thai Muslims.

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