Gema Dari Menara (1968) was intended as a mode of da’wah (the propagation of Islamic teachings) in response to the situation faced by the local community in Brunei at that time. Following its status as a medium of disseminating the Islamic values, the film embodies Islamic teachings that guide Bruneian Muslims to fully embrace Islam. This current study aims to unravel the meaning of the Islamic value of Amar Ma’ruf Nahi Mungkar (enjoining good and forbidding wrong) that is strongly depicted in the film and perceived as the enlightening Islamic value from the film. Therefore, this study examines the extent of the manifestation of Amar Ma’ruf Nahi Mungkar in the film. It is found that the portrayal of da’wahism using Amar Ma’ruf Nahi Mungkar is imbued in education, social interaction, clothing, and one’s upbringing which is the most influential factor. By applying the Islamic requisites, the scenario and sentiments in the film also encourage the audience to ponder upon the cause and effect of the characters’ actions and deeds.

This paper aims to analyze and evaluate the arguments provided in Gema Dari Menara that aim to justify Islamic prohibitions. The first part of this paper will attempt to indicate that the arguments concerning Islam’s prohibition of certain activities are surprisingly secular in their justification, in the sense that their reasoning rests on mundane empirical considerations rather than lofty theological exhortations. For instance, premarital sex must be prohibited because it would “ruin one’s personality and community”, Bruneians should not gamble because people who do so “forget their own responsibilities”, and alcohol should not be consumed because it can “ruin a sound mind and one’s personality”. These justifications do not appeal to the divine but instead refer to phenomena that can be observed, measured, and quantified. The second part of this paper will consider the implications of trying to justify absolute religious prohibitions through secular considerations. It will be argued that in doing so the film opens itself to empirical queries that must be addressed for the film to have its desired effect. This paper ultimately draws attention to some of the challenges facing religious apologetics as the social sciences gain prominence.

This paper argues that the film Gema Dari Menara produced in 1968 reflects Brunei’s attempt towards constructing a Brunei Malayness as a national identity. During the early twentieth century, the colonial powers particularly in the Peninsula, tried to help establish a sense of unity among the Malays. Although it was not clear whether this was entirely successful, it is possible that the presence of colonial powers had some influence towards fuelling Malays to be more proactive in their own identity construction. After the British began to leave Brunei, the nation-state can be perceived to have intensified its efforts in creating a national identity as a way to unify its people, including the preservation and reconstruction of its Malayness. A close analysis of the characters in the film will reveal portrayals of ideals of Malayness and how Islamic values penetrate Malayness in the Bruneian context. The main character Azman is arguably the epitome of ideal Malayness, as his behaviour, his way of thinking as well as the way he dresses complement what Brunei aspires to for its people, whereas his younger siblings’ partying and wild behaviour are a cautionary tale. These findings will hopefully provide insights for further studies on the impact of the British administration on the Brunei Malay culture or identity formation in Brunei as a postcolonial state.

Historians of technology have for the past decade begun to recognize the important role that technology plays in nation-building. From the development of the steam locomotive in Britain in the early 19th century that was integral to the Industrial Revolution to America’s emphasis on its technological progressiveness in its national narratives in the 20th century, studies have shown that the history of technology is necessarily the history of nations as well. While the majority of previous research focuses primarily on Western nations (and unsurprisingly so, considering that a greater proportion of technological advancements have happened in these countries in the recent past centuries), less have studied how other countries have dealt with the rise of modern technologies in the development and maintenance of their national identity. This paper seeks to expand the critical scope by examining Brunei’s stance on technology in the 1960s – just after the 1959 Constitution was established declaring the nation an independent, sovereign Sultanate – a time when Brunei was still in the early stages of defining its own identity. I propose that Brunei used modern technologies in order to further solidify its Muslim identity as a response to modernization and globalization, which is distinct to many previouslystudied countries that focus more on boosting their military and/or industrial prowess. Brunei’s approach, then, notably counters oft-perceived contradictions between religion and technology. This study will focus on Brunei’s first film, Gema Dari Menara (1968), which was tellingly commissioned by the Religious Affairs Department, and will examine the portrayal of modern technologies that seek to break the binary between religion and modernity to show an image of Islam that is compatible with a developing Brunei.