The Concept of Islamic Film by Naim Ahmad: A Detailed Analysis Through the Concept of Taklif by Affandi Hassan

Nawawi, Mohd Adi Amzar Muhammad; Zulkiffly, Atikah; Mohamed, Yuslina; Rasit, Rosmawati Mohamad

The Concept of Islamic Film by Naim Ahmad: A Detailed Analysis Through the Concept of Taklif by Affandi Hassan

James Alexander Gordon on 27th November 2025

Author Information

Mohd Adi Amzar Muhammad Nawawi, Islamic Science University of Malaysia, Malaysia
Atikah Zulkiffly, Islamic Science University of Malaysia, Malaysia
Yuslina Mohamed, Islamic Science University of Malaysia, Malaysia
Rosmawati Mohamad Rasit, National University of Malaysia, Malaysia

Abstract

The concept of taklīf, which forms the foundation of Mohd Affandi Hassan’s Persuratan Baru framework, was articulated early on in Pendidikan Estetika daripada Pendekatan Tauhid (1992). Taklīf refers to the principle of human responsibility to obey the commands of Allah SWT and, within the Persuratan Baru paradigm, it establishes the moral trust and ethical discipline that must be upheld by writers and creative practitioners. This responsibility includes producing works grounded in sound Islamic creed (akidah), compliant with Islamic law (syariah), and oriented towards the cultivation of virtuous character (akhlak), in line with the objectives of Islamic literature. This conceptual orientation intersects meaningfully with the discourse on Islamic cinema advanced by Naim Ahmad in Filem Islam: Satu Pembicaraan (2011). His definition of Islamic film demonstrates a strong alignment with the principle of taklīf, particularly in emphasising the responsibility of filmmakers to utilise film as a medium for disseminating knowledge, fostering moral awareness, and promoting divine values. Accordingly, this conceptual paper adopts a qualitative approach through content analysis, with Filem Islam: Satu Pembicaraan serving as the primary data source, analysed using descriptive and critical methods. The analysis indicates that Naim Ahmad’s approach is consistent with Mohd Affandi Hassan’s intellectual framework and reflects a strong commitment to intellectual accountability and the educative function of creative works. Overall, the study affirms taklīf as a relevant and applicable framework for understanding and developing contemporary Islamic creative practices, including film.