THE OTHERING GAZE: REPRESENTATION OF MUSLIM DIASPORA IN BULAN TERBELAH DI LANGIT AMERIKA (2015) AND MY NAME IS KHAN (2010)

Elfarizky, NIM.: 21101050028 (2025) THE OTHERING GAZE: REPRESENTATION OF MUSLIM DIASPORA IN BULAN TERBELAH DI LANGIT AMERIKA (2015) AND MY NAME IS KHAN (2010). Skripsi thesis, UIN SUNAN KALIJAGA YOGYAKARTA.

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Abstract

This research analyzes the films Bulan Terbelah di Langit Amerika (2015) and My Name is Khan (2010), with a focus on addresses a gap in understanding how global cinema, particularly from Indian and Indonesian perspectives, portrays the Muslim diaspora in the United States, also contributing to intercultural discourse. It examines whether these portrayals promote or resist the "othering" gaze—in which Muslims are viewed as inferior or threatening—and how they navigate a "third space" of hybrid identity. My Name is Khan depicts Rizwan Khan, an Indian Muslim with Asperger's syndrome, navigating personal tragedy and discrimination to assert his identity, meanwhile Bulan Terbelah di Langit Amerika follows Hanum, an Indonesian journalist, as she investigates the impact of 9/11 on Muslim Americans through personal narratives. This study analyzes narratives, visual styles, and character development using a descriptive qualitative technique and comparative content analysis, using Stuart Hall's representation theory, Edward Said's postcolonial theory, and Louis Giannetti's film theory. The finding reveals how both films portrays the United States as a dominant power and Muslim as the “other”. The finding also reveals the United States as a dual space, offering opportunity while also enforcing oppression, where Muslim protagonists negotiate a "third space" (Homi K. Bhabha) of hybrid identity in the middle of increasing Islamophobia. Important scenes, such as Rizwan's detention and Hanum's discrimination, illustrate systematic prejudice, while acts of resistance, such as Rizwan's aid to Wilhemina and Ibrahim's heroics, challenge the stereotypes. The research concludes that both films criticize the United States' failure to promote equality while honoring Muslim agency, providing to a better understanding of intercultural representation in global cinema. Suggestions for future research include comparative analyses with other post-9/11 films, and also audience reception studies to address limitations in textual focus and contextual depth.

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