Chapter 2:Ulasan Film
3. Tiga Menguak Usmar
4. Tukang Obat dan Kampanye Caleg di Sinema Kita,
5. Harimau Tjampa: Kelindan Pencak Silat dengan Islam
Chapter 3:Lesbumi, Sensor, Politik
6. Sensor dalam Film
7. Lesbumi, Dari Jembatan Ulama-Seniman
Chapter 4 :Warisan, Restorasi, dan Transnasionalisme
8. Restoration of Lewat Djam Malam: The Importance, the Process, and the Obstacles
9. Two Orphan Films by Usmar Ismail
10. Indonesia’s Three Sisters Movies, Cultural Importance, and the Legacy of Challenging the Society
11. Revisiting Italian Neorealism: Its influence toward Indonesia and Asian Cinema or There’s No Such Thing Like Pure Neorealist Films
You can buy the printed version (pre-oder) at Shopee, and the e-book version (you can by per chapter) at Storial.co.
BTW, Mujahid means people who are fighting againts/for something. Originally , it is an Islamic term. but I broaden the meaning, not only for Islamic purposes but for cultural/social/political ones as well. My book focuses on Usmar ISmail, considered as The Father of Indonesian Cinema, and his struggles for formulating the concept of "Indonesian cinema". it is important since Indonesia just got its independence in 1945 (and was acknowledged in 1949 by the dutch, the colonizer), and Usmar made his "first" film in 1950. Including his struggles between making his idealistic films and commercial ones, and defending for communist attempts (Paradoxically, he became the chairperson of "Traditional Muslim Cultural Institution", but later he owned the first night club in Indonesia).
