<![CDATA[Film Buya Hamka merupakan film bioskop Indonesia yang menggambarkan perjalanan hidup Haji Abdul Malik Karim Amrullah (Buya Hamka) serta relasi rumah tangganya dengan Siti Raham. Artikel ini bertujuan untuk menganalisis representasi relasi suami istri dalam Islam yang digambarkan dalam film tersebut sekaligus memahami konstruksi makna di baliknya. Penelitian ini menggunakan metode kepustakaan dengan pendekatan kualitatif deskriptif melalui teori representasi Stuart Hall dan analisis semiotika Roland Barthes pada level denotasi, konotasi, dan mitos. Penelitian ini menemukan bahwa relasi suami istri dalam film ini merefleksikan nilai tanggung jawab, kesetiaan, saling menghormati, dan keterlibatan intelektual. Pada level denotasi, rumah tangga digambarkan harmonis dan penuh kasih sayang; pada level konotasi, relasi suami istri tidak hanya domestik tetapi juga ideologis dan intelektual; sementara pada level mitos, film membangun gambaran rumah tangga ideal dalam Islam sebagai relasi yang egaliter, dialogis, serta menjadi fondasi kekuatan moral dan perjuangan umat. Penelitian ini berkontribusi dalam memperkaya kajian komunikasi Islam dan studi representasi melalui media film, dengan menunjukkan bagaimana film religius dapat berfungsi sebagai sarana dakwah kultural sekaligus inspirasi dalam membangun rumah tangga Islami yang harmonis dan berkeadilan. The film Buya Hamka is an Indonesian movie that depicts the life journey of Haji Abdul Malik Karim Amrullah (Buya Hamka) and his marital relationship with Siti Raham. This article aims to analyze the representation of husband-wife relationships in Islam as depicted in the film and to understand the construction of meaning behind it. This study employs a literature review method with a descriptive qualitative approach, drawing on Stuart Hall's theory of representation and Roland Barthes' semiotic analysis at the denotative, connotative, and mythical levels. This study finds that the husband-wife relationship in this film reflects the values of responsibility, loyalty, mutual respect, and intellectual involvement. At the denotative level, the household is depicted as harmonious and loving; at the connotative level, the husband-wife relationship is not only domestic but also ideological and intellectual; while at the mythical level, the film constructs an image of the ideal household in Islam as an egalitarian, dialogical relationship that serves as the foundation of moral strength and the struggle of the ummah. This research contributes to enriching the study of Islamic communication and representation through film media by showing how religious films can serve as a means of cultural da'wah (proselytizing) as well as inspiration in building a harmonious and just Islamic household.]]>
