KONTESTASI HABITUS PEMAHAMAN HADIS YANG DIPERSEPSIKAN MISOGINIS DALAM FILM “WANITA AHLI NERAKA”

Muhammad Muqla Syauqy Tamam, NIM.: 24205031062 (2026) KONTESTASI HABITUS PEMAHAMAN HADIS YANG DIPERSEPSIKAN MISOGINIS DALAM FILM “WANITA AHLI NERAKA”. Masters thesis, UIN SUNAN KALIJAGA YOGYAKARTA.

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Abstract

The rise of the horror-religious genre in Indonesian cinema has also become a way of transmitting and receiving hadith in society, including religious texts that are often seen as gender-biased or misogynistic, such as the hadith narrated by Bukhari No. 304 about women as the majority of the inhabitants of hell. Literature studies show that research on Pierre Bourdieu's habitus has so far been focused on educational institutions and social groups, not yet touching the arena of popular media such as horror films. Meanwhile, the study of misogynistic hadith is still focused on theological-textual debates and even touches on film, it is only limited to a representation analysis without a sociological lens on contestation. This gap underlies this research, by making the film Wanita Ahli Neraka (2024) by director Farishad Latjuba and screenwriter Lele Laila as the object of study, because it openly displays the struggle of interpretation of the hadith discourse in cinematic form. This study discusses three main formulations, including describing what are the dominant habits of women in the film Women of Hell, how symbolic violence based on misogynistic hadiths is operated to naturalize women's habitus in the film, and also the reasons for contesting the interpretation of hadith in the main character and what are the implications. Based on the formulation of the problem, this study uses primary and secondary data sources. Primary data sources include the film Wanita Ahli Neraka as the main object of study, as well as the hadith book of Saheeh Bukhari as a reference for the hadith that is the focus of this research. Meanwhile, the secondary data in this study are documents related to the research object including articles, books, and relevant research. This study uses a qualitative method with a descriptive-analytical design, library research. The data collection technique is carried out through in-depth and repetitive documentation and observation of media texts, then analyzed through the framework of dialectical relationships between habitus, arena, capital, and symbolic violence. The results of the study show that the dominant habitus of women in this film is manifested as the habitus of Farah's obedience, formed through the internalization of the hadith discourse about women as the majority inhabitants of hell, the husband's doxa as an imam, the belief in obedience as worship, and the hexis of the body in the form of submission that works automatically, and is confirmed by capital inequality in the four dimensions that benefit Wahab since before marriage. This habitus is further naturalized through the mechanisms of repetition, religious doxa, and hexes, and then operated concretely as symbolic violence through euphemism and sensorization, until it is constantly reproduced in the household routine. The accumulation of contradictions from the violence then pushes Farah to move from blind obedience to critical consciousness, marked by a shift in capital and arena from the foundation of Wahab's dominance to a resource for Farah's habitus of resistance, until finally the film reconstructs the meaning of the hadith, not rejecting its authority, but criticizing its use as taken out of context, as well as correcting the use of the label "woman expert in hell" as a tool to threaten his wife, by showing that the tyranny in the actual house is contrary to the teachings of Islam.

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