{"id":4215,"date":"2018-05-22T15:08:03","date_gmt":"2018-05-22T13:08:03","guid":{"rendered":"https:\/\/sbunker.org\/?p=4215"},"modified":"2024-10-15T10:04:02","modified_gmt":"2024-10-15T08:04:02","slug":"ishte-dita-e-pare-pa-te-ne-kujtim-te-xhanfize-keko-1928-2007","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/opinion\/ishte-dita-e-pare-pa-te-ne-kujtim-te-xhanfize-keko-1928-2007\/","title":{"rendered":"Ishte dita e par\u00eb pa t\u00eb: N\u00eb kujtim t\u00eb Xhanfize Keko (1928-2007)"},"content":{"rendered":"
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Ishte dita e par\u00eb pa t\u00eb: N\u00eb kujtim t\u00eb Xhanfize Keko (1928-2007)<\/h3>\n<\/div>\n
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“Ishte dita e par\u00eb pa t\u00eb”, shkruan shkrimtarja Natasha Lako n\u00eb\u00a0Teta Xhano\u00a0(2012), libri q\u00eb p\u00ebrmban\u00a0\"Image\"kujtimet e aktor\u00ebve t\u00eb vegj\u00ebl n\u00eb filmat e regjisores t\u00eb paharueshme Xhanfize Keko. Po lexoj p\u00ebrs\u00ebri mendimet e saj t\u00eb asaj dite, 22 dhjetor 2007, ashtu si\u00e7 i tregon Natasha me ndershm\u00ebri dhe thjesht\u00ebsi q\u00eb t\u00eb prek n\u00eb zem\u00ebr, dhe n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb, p\u00ebrpiqem t\u00eb vendos mendimet e mia n\u00eb nj\u00eb rregull; sepse ky \u00ebsht\u00eb nj\u00eb tekst i cili synon t\u00eb festoj\u00eb 90 vjetorin e lindjes s\u00eb Teta Xhanos, dhe jo ndarjen e saj nga jeta.<\/p>\n

Ky \u00ebsht\u00eb nj\u00eb tekst q\u00eb rrjedh nga nj\u00eb studim m\u00eb i gjer\u00eb dhe i gjat\u00eb i cili do prezantohet n\u00eb dat\u00ebn 23 maj n\u00eb konferenc\u00ebn nd\u00ebrkomb\u00ebtare\u00a0Doing Women\u2019s Film and Television History IV<\/a>\u00a0e organizuar nga Universiteti Southampton, UK. N\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb, dokumentari i regjisorit Mevlan Shanaj me skenar t\u00eb Natasha Lakos,\u00a0Koha e Pelikul\u00ebs,<\/em>\u00a0do t\u00eb shfaqet n\u00eb festivalin nd\u00ebrkomb\u00ebtar i Nju Jorkut,\u00a0International Filmmaker Festival of New York<\/a>. K\u00ebsisoj, legjenda e regjisores s\u00eb filmit p\u00ebr f\u00ebmij\u00eb ende mbetet n\u00eb dialog t\u00eb gjall\u00eb me komunitetin nd\u00ebrkomb\u00ebtar t\u00eb filmit, t\u00eb teoricien\u00ebve dhe akademik\u00ebve t\u00eb filmit.<\/p>\n

Kontributi i Xhanfize Kekos n\u00eb historin\u00eb e zhvillimit dhe konsolidimit e zhanrit t\u00eb filmit p\u00ebr f\u00ebmij\u00eb n\u00eb kinematografin\u00eb shqiptare \u00ebsht\u00eb i pamohuesh\u00ebm dhe gjer\u00ebsisht i kremtuar n\u00eb vendin ton\u00eb. Pra, kur Univeristeti i Southampton hapi thirrjen p\u00ebr studime mbi kontributin e grave n\u00eb artin e filmit, nuk kisha asnj\u00eb dyshim n\u00eb mendjen time se duhet ta shfryt\u00ebzoj k\u00ebt\u00eb mund\u00ebsi p\u00ebr t\u00eb prezantuar Xhanfize Kekon n\u00eb nj\u00eb publik nd\u00ebrkomb\u00ebtar q\u00eb ende mund t\u00eb mos njihet me emrin dhe pun\u00ebn e saj, pavar\u00ebsisht se kinematografia shqiptare ka patur dashamiras si Projekti i Kinemas\u00eb Shqiptare (ACP<\/a>) krijuar nga Regina Longo, kritiku britanik\u00a0Mark Cousins<\/a>, profesori\u00a0Bruce Williams<\/a>, dhe figura t\u00eb tjera t\u00eb r\u00ebnd\u00ebsishme nga bota e filmit.<\/p>\n

Kjo regjisore e par\u00eb e filmit artistik, dhe e vetme gjat\u00eb periudh\u00ebs s\u00eb diktatur\u00ebs, ka krijuar nj\u00eb thesar t\u00eb shquar n\u00eb trash\u00ebgimin\u00eb ton\u00eb komb\u00ebtare t\u00eb filmit, me t\u00eb v\u00ebrtet\u00eb frym\u00ebzues dhe origjinal, si n\u00eb aspektin stilistik por edhe n\u00eb aspektin e p\u00ebrmbajtjes. Kush mund t\u00eb harroj\u00eb luajtshm\u00ebrin\u00eb e asaj melodie s\u00eb sken\u00ebs s\u00eb par\u00eb n\u00eb\u00a0ABC…ZH<\/em>\u00a0(1971), ose aspektin kuptimplot\u00eb imagjinativ s\u00eb sekuenc\u00ebs s\u00eb \u00ebnd\u00ebrr\u00ebs n\u00eb\u00a0Kryengritje n\u00eb pallat<\/em>\u00a0(1972). Kush \u00ebsht\u00eb lodhur s\u00eb d\u00ebgjuari treguesin e historis\u00eb s\u00eb qytetit ton\u00eb \u2018me rrug\u00eb t\u00eb bukura, me sheshe t\u00eb gjera… dhe sa f\u00ebmij\u00eb q\u00eb jetojn\u00eb n\u00eb k\u00ebto pallate,\u00a0\"Image\"Mimoza Llastica midis tyre. Kush mund t\u00eb harroj\u00eb aventur\u00ebn premtuese e nd\u00ebrtimit t\u00eb\u00a0Qytetit m\u00eb t\u00eb ri n\u00eb bot\u00eb<\/em>\u00a0(1974) apo transformimin i Benit t\u00eb vog\u00ebl nga nj\u00eb djal\u00eb i t\u00ebrpsh\u00ebm dhe frikacak n\u00eb nj\u00eb f\u00ebmij\u00eb plot gjall\u00ebri, plot jet\u00eb. Dhe kush mund t\u00eb fshihet nga ndjenjat t\u00eb neveritjes, p\u00ebrbuzjes apo urrejtjes duke par\u00eb trupin e Bardhit t\u00eb mbushur me plag\u00eb nga goditjet e Galipit (Tinguj Lufte<\/em>, 1976).<\/p>\n

Dhe k\u00ebtu vjen momenti historik i Xhanfize Kekos, kur ajo do krijonte filmin e saj m\u00eb t\u00eb mir\u00ebnjohur \u2013 n\u00eb nivel komb\u00ebtar dhe nd\u00ebrkomb\u00ebtar –\u00a0\u00a0Tomka dhe shok\u00ebt e tij<\/em>\u00a0(1977). Sekuenca q\u00eb hap filmin besoj se \u00ebsht\u00eb nj\u00eb nga momentet m\u00eb t\u00eb bukura, m\u00eb t\u00eb sinqerta dhe m\u00eb elegante n\u00eb historin\u00eb e kinemas\u00eb bot\u00ebrore, dhe Xhanfize Keko e ka shoq\u00ebruar at\u00eb me muzik\u00ebn e mjeshtrit-kompozitor Aleksand\u00ebr Lalo, t\u00eb ekzekutuar nga nj\u00eb mjesht\u00ebr tjet\u00ebr, Ferdinand Deda: mendoj me veten time, ky \u00ebsht\u00eb fine art (art i p\u00ebrkryer), t\u00eb b\u00ebn t\u00eb buz\u00ebqesh\u00ebsh nd\u00ebrsa kujton t\u00eb kaluar\u00ebn, t\u00eb b\u00ebn t\u00eb p\u00ebrmallohesh p\u00ebr at\u00eb q\u00eb q\u00eb kolektivisht p\u00ebrpiqemi t\u00eb kap\u00ebrcejm\u00eb, t\u00eb b\u00ebn t\u00eb \u00ebnd\u00ebrrosh me sy hapur, t\u00eb b\u00ebn t\u00eb ndihesh e gjall\u00eb.<\/p>\n

Xhanfize Keko ka kontribuar n\u00eb historin\u00eb e kinematografis\u00eb shqiptare m\u00eb shum\u00eb se sa asaj zakonisht i kemi atribuar. Jan\u00eb vitet 1981 & 1984 kur regjisorja s\u00eb bashku me redaktoren Natasha Lako, bashk\u00ebskenarist\u00ebt Shpresa Vreto dhe Nexhati Tafa, si dhe montazhieren Shpresa Papapavlo solli n\u00eb ekranin e madh nj\u00eb zhan\u00ebr t\u00eb ri: Filmin e Gruas (The Woman\u2019s Film) \u2013\u00a0Kur po xhirohej nj\u00eb\u00a0<\/em>\"Image\"film<\/em>\u00a0(1981) &\u00a0Taulanti k\u00ebrkon nj\u00eb mot\u00ebr<\/em>\u00a0(1984). Duke vendosur gruan n\u00eb qend\u00ebr t\u00eb tregimit t\u00eb dy filmat eksplorojn\u00eb dhe problematizojn\u00eb pozit\u00ebn e Gruas s\u00eb Re n\u00eb Shqip\u00ebrin\u00eb socialiste, dhe haptazi sulmojn\u00eb t\u00eb gjith\u00eb fabrikimin socialist t\u00eb gruas s\u00eb emancipuar duke miratuar nj\u00eb qasje krejt t\u00eb re dhe t\u00eb fresk\u00ebt n\u00eb zhvillimin narrativ t\u00eb personazheve fem\u00ebrore.<\/p>\n

N\u00eb k\u00ebt\u00eb vend ku prejardhja e kontekstit shoq\u00ebror ka qen\u00eb e rr\u00ebnjosur n\u00eb pik\u00ebpamje patriarkale, Xhanfize Keko tregon historin\u00eb e nj\u00eb gruaje n\u00eb prag t\u00eb divorcit (personazhi i Violeta Dede),\u00a0dhe t\u00eb nj\u00eb gruaje pa qasje n\u00eb t\u00eb\u00a0\u00a0\"Image\"drejtat riprodhuese (personazhi i Zllka Mujo),, trupi i s\u00eb cil\u00ebs kthehet n\u00eb nj\u00eb makin\u00eb riprodhuese n\u00eb duart e Shtetit. Keko arrin t\u00eb rris\u00eb pyetje krejt\u00ebsisht t\u00eb vlefshme (si n\u00eb at\u00eb koh\u00eb edhe n\u00eb koh\u00ebn ton\u00eb) por t\u00eb neglizhuar p\u00ebr nj\u00eb koh\u00eb shum\u00eb t\u00eb gjat\u00eb n\u00eb shoq\u00ebrin\u00eb ton\u00eb: cilat jan\u00eb strukturat shoq\u00ebrore t\u00eb cilat mund t\u00eb ofrojn\u00eb premis\u00ebn e emancipimit t\u00eb gruas? Si ndikon ky realitet i ri mbi gruan si individ, por edhe n\u00eb ata q\u00eb e rrethojn\u00eb at\u00eb? Si trajtohet kjo \u00e7\u00ebshtje n\u00eb kontekstin e v\u00ebrtet\u00eb shoq\u00ebror dhe si komunikohet n\u00eb publik? P\u00ebrfundimisht, si nj\u00eb gjest antikonformizmi,\u00a0 regjisorja refuzon t\u2019i jap\u00eb filmave nj\u00eb \u2018Happy End\u2019 t\u00eb qart\u00eb: iluzioni i nj\u00ebsis\u00eb familjare prishet kur ajo me vendosm\u00ebri ngrin kuadrin e fundit n\u00eb t\u00eb dy filmat para se portreti i Familjes t\u00eb tregohet i plot\u00eb.<\/p>\n

K\u00ebshtu u lind zhanri i Filmit t\u00eb Gruas n\u00eb kinematografin\u00eb shqiptare. Ende duhet studiuar n\u00ebse kjo tradit\u00eb mbijetoi pas r\u00ebnies s\u00eb komunizmit, n\u00eb vitet e m\u00ebvonshme. P\u00ebr fat t\u00eb keq, tradita e filmave t\u00eb f\u00ebmij\u00ebve nuk ka mbijetuar.<\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Ishte dita e par\u00eb pa t\u00eb: N\u00eb kujtim t\u00eb Xhanfize Keko (1928-2007) “Ishte dita e par\u00eb pa t\u00eb”, shkruan shkrimtarja Natasha Lako n\u00eb\u00a0Teta Xhano\u00a0(2012), libri q\u00eb p\u00ebrmban\u00a0kujtimet e aktor\u00ebve t\u00eb vegj\u00ebl n\u00eb filmat e regjisores t\u00eb paharueshme Xhanfize Keko. Po lexoj p\u00ebrs\u00ebri mendimet e saj t\u00eb asaj dite, 22 dhjetor 2007, ashtu si\u00e7 i tregon […]<\/p>","protected":false},"author":414,"featured_media":7966,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"ppma_author":[773],"class_list":["post-4215","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-opinion"],"authors":[{"term_id":773,"user_id":414,"is_guest":0,"slug":"fjoralba-miraka","display_name":"Fjoralba Miraka","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/11\/Fjoralba1575446931.jpg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/11\/Fjoralba1575446931.jpg"},"user_url":"","last_name":"Miraka","first_name":"Fjoralba","description":"Fjoralba Miraka \u00ebsht\u00eb nj\u00eb studjuese e filmit t\u00eb Hollivudit n\u00eb vitet e Rilindjes (n\u00eb fund t\u00eb viteve 1960 \u2013 mesi i viteve 1970) n\u00eb Fakultetin e Medias, Gjuh\u00ebs, dhe Kultur\u00ebs t\u00eb Universitetit Roehampton n\u00eb Lond\u00ebr. Ajo mban nj\u00eb Master n\u00eb Let\u00ebrsin\u00eb dhe Kultur\u00ebn Amerikane si dhe nj\u00eb Bachelor n\u00eb Gjuh\u00ebn Angleze, t\u00eb dy dimploma nga Universiteti Aristotel i Selanikut, Greqi. N\u00eb 2021 studimi i saj The Great Shift in Hollywood Cinema: Men, Women, and Genre Revisionism of the American New Wave u botua nga sht\u00ebpia botuese Bloomsbury Academic, kurse n\u00eb 2020 kapitulli i saj Historia e Teoris\u00eb Feministe s\u00eb Filmit u botua n\u00eb Enciklopedin\u00eb e par\u00eb Nd\u00ebrkomb\u00ebtare t\u00eb Gjinis\u00eb, Medias, dhe Komunikimit nga Wiley Blackwell. N\u00eb 2019 studimi i saj Gender, Genre, and Class Politics in Barbara Loden\u2019s Wanda (1970) u botua n\u00eb portali akademic MAI: Feminism and Visual Culture (https:\/\/maifeminism.com\/gender-genre-and-class-politics-in-barbara-lodens-wanda-1970\/). Studimi i saj i par\u00eb Performing Otherness for the Monstrous Gaze: Racial and Sexual Fantasies in the Allegoric Orgies of Venus Noir and Black Swan u botua n\u00eb 2014 (https:\/\/brill.com\/view\/book\/edcoll\/9781848884076\/BP000020.xml?lang=en). Gjithashtu, ajo ka p\u00ebrkthyer n\u00eb gjuh\u00ebn angleze kujtime t\u00eb regjisor\u00ebs Xhanfize Keko dhe t\u00eb protagonist\u00ebve t\u00eb filmave Beni ec\u00ebn vet\u00eb (botuar n\u00eb 2020) dhe Mimoza Llastica (botuar n\u00eb 2021). Pasioni i saj \u00ebsht\u00eb puna dhe jeta e regjizores Xhanfize Keko. P\u00ebrve\u00e7 pun\u00ebs dhe studimeve, ajo \u00ebsht\u00eb edhe n\u00ebn\u00eb e p\u00ebrkushtuar n\u00eb dy f\u00ebmij\u00ebt t\u00eb saj (lindur n\u00eb 2019 & 2021)."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4215","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/users\/414"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/comments?post=4215"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4215\/revisions"}],"predecessor-version":[{"id":8314,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4215\/revisions\/8314"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/7966"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=4215"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=4215"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=4215"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=4215"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}