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Exorcism In The Films “The Pope’s Exorcist” And “Qodrat”
This study analyzes the representation of exorcism in the films "The
Pope’s Exorcist" (2023) and "Qodrat" (2022) by applying Stuart Hall’s theory
of representation, focusing on language, religious symbols, and cultural codes.
Through qualitative content analysis, the study finds that in "The Pope’s
Exorcist", language is manifested through Latin prayers that emphasize
ecclesiastical authority, while symbols such as the crucifix and holy water
reinforce the Church’s power over evil. The cultural codes depict exorcism as
an institutionalized and hierarchical practice under Church authorization.
Meanwhile, in "Qodrat", language appears through Qur'anic recitations and
Islamic supplications, symbols like prayer beads (tasbih) and ruqyah water
serve as spiritual protection, and cultural codes portray exorcism as a
personal act of faith rooted in individual piety without formal institutional
control. Despite the different religious backgrounds, both films highlight
common patterns: the strategic revelation of the demon’s name, the spiritual
and psychological challenges faced by the exorcists, and the need for personal
purification. Furthermore, the study relates these cinematic portrayals to
real-world exorcism practices in Java and Latin America, illustrating how
religious and cultural frameworks shape representations of exorcism in film.
The researcher concluded that language, symbols, and cultural codes play a
crucial role in constructing the portrayal of exorcism across different religious
contexts.
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