{"id":4259,"date":"2018-10-02T12:11:10","date_gmt":"2018-10-02T10:11:10","guid":{"rendered":"https:\/\/sbunker.org\/?p=4259"},"modified":"2024-11-20T12:14:13","modified_gmt":"2024-11-20T10:14:13","slug":"arkivi-qendror-shteteror-i-filmit-kinematografia-e-viteve-90","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/uncategorized\/arkivi-qendror-shteteror-i-filmit-kinematografia-e-viteve-90\/","title":{"rendered":"Arkivi Qendror Shtet\u00ebror i Filmit & Kinematografia e Viteve ’90"},"content":{"rendered":"
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Asgj\u00eb tjet\u00ebr m\u00eb shum\u00eb sesa nj\u00eb film, nuk \u00ebsht\u00eb n\u00eb gjendje t\u00eb na transportoj\u00eb, n\u00ebp\u00ebrmjet fantazis\u00eb, n\u00eb vendet m\u00eb t\u00eb paimagjinueshme – Vladimir Prifti, T\u00eb dish t\u00eb lexosh nj\u00eb film<\/p>\n<\/div>\n

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Askush nuk flet p\u00ebr filmin shqiptar me m\u00eb shum\u00eb dashuri, adhurim, dhe admirim sesa kineastja dhe drejtuesja e Arkivit Qendror Shtet\u00ebror t\u00eb Filmit, Iris Elezi. \u00cbsht\u00eb n\u00eb t\u00eb v\u00ebrtet\u00eb e admirueshme se si kjo dashuri p\u00ebr artin e shtat\u00eb n\u00eb vendin ton\u00eb \u00ebsht\u00eb e dukshme si n\u00eb vepr\u00ebn e saj si drejtuese e arkivit, ashtu edhe n\u00eb m\u00ebnyr\u00ebn sesi ajo shpreh dashamir\u00ebsin\u00eb, interesin, shqet\u00ebsimet dhe frym\u00ebzimin e saj ndaj kultur\u00ebs ton\u00eb filmike. N\u00ebn nd\u00ebrgjegjen e saj, Arkivi Qendror n\u00eb bashk\u00ebpunim me Tulla Nouvelle Terrace nisi programin veror Kinematografia e Viteve \u201990 t\u00eb kuruar me projeksione filmash artistik dhe dokumentar\u00ebsh t\u00eb prodhuar n\u00eb k\u00ebt\u00eb periudh\u00eb. Nga data 19 qershor deri n\u00eb fund t\u00eb ver\u00ebs \u00e7do t\u00eb mart\u00eb n\u00eb or\u00ebn 21.00 n\u00ebn qjellin e hapur s\u00eb tarrac\u00ebs t\u00eb Pallatit t\u00eb Kultur\u00ebs spektator\u00ebt mor\u00ebn nj\u00eb shije jo nga vendet m\u00eb t\u00eb paimagjinushme por nga vendi jon\u00eb gjat\u00eb nj\u00eb periudhe t\u00eb eg\u00ebr dhe t\u00eb panjohur mir\u00eb nga publiku.<\/p>\n

Filmat dhe dokumentar\u00ebt t\u00eb cilit p\u00ebrb\u00ebn\u00eb programin vijn\u00eb nga figurat m\u00eb t\u00eb njohura t\u00eb kinematografis\u00eb son\u00eb dhe mund t\u00eb thuhet se p\u00ebrb\u00ebjn\u00eb nj\u00eb \u2018boys\u2019 club\u2019: Spartak Pecani, Artan Minarolli, Kujtim Gjonaj, Gjergj Xhuvani, Piro Milkani, Saimir Kumbaro, Vladimir Prifti, Besnik Bisha, Esat Musliu dhe Fatmir Ko\u00e7i. \u00a0Programi veror filloi me projeksionin e filmit\u00a0P\u00ebrdhunuesit\u00a0<\/em>(Spartak Pecani, 1994) n\u00eb 19 qershor ku u ndodh\u00ebn edhe regjisori Spartak Pecani por edhe aktori Ndri\u00e7im Xhepa i cili ka p\u00ebrsosur nj\u00eb nga rolet kryesor\u00eb t\u00eb filmit.<\/p>\n

Me k\u00ebt\u00eb rast, dhe duke qen\u00eb n\u00eb proces p\u00ebrgatitjesh p\u00ebr nj\u00eb leksion mbi studimin e spektator\u00ebve dhe audiencave n\u00eb Universitetin ku po studioj p\u00ebr doktorat\u00ebn time, po kujtoj fjal\u00ebt e T.S.Eliot\u00a0\u2018<\/em>t\u00eb kuptosh kultur\u00ebn \u00ebsht\u00eb t\u00eb kuptosh njer\u00ebzit\u2019,<\/em>\u00a0dhe gjithashtu po mendoj sesa larg jemi akoma nga ai moment kur do mundemi t\u00eb kemi nj\u00eb kuptim m\u00eb t\u00eb gjer\u00eb dhe t\u00eb plot\u00eb t\u00eb filmit shqiptar por edhe t\u00eb spektatorit shqiptar. N\u00ebse filmi si art \u00ebsht\u00eb nj\u00eb tem\u00eb e cila po studiohet tanim\u00eb, kryesisht fal\u00eb akademis\u00eb t\u00eb filmit Marubi, mendoj se pozita e spektatorit dhe e audienc\u00ebs \u00ebsht\u00eb thell\u00ebsisht e neglizhuar. Mund t\u00eb kemi nj\u00eb p\u00ebrshtypje t\u00eb caktuar mbi emrat dhe figurat e kinematografis\u00eb \u2013 regjisor\u00eb, aktor\u00eb, etj. \u2013 por nuk kemi asnj\u00eb p\u00ebrshtypje mbi figur\u00ebn e spektatorit si nj\u00eb element p\u00ebrb\u00ebr\u00ebs n\u00eb kultur\u00ebn e filmit. Dhe nuk mund t\u00eb ket\u00eb kuptim t\u00eb plot\u00eb t\u00eb filmit si art pa marr\u00eb parasysh konsiderime dhe teorizime t\u00eb spektatorit si nj\u00eb pozicion ku filmi fillon dhe mbaron. Sidomos n\u00eb nj\u00eb vend si Shqip\u00ebria ku filmi ka funksionuar n\u00eb t\u00eb shkuar\u00ebn pik\u00ebrisht si nj\u00eb veg\u00ebl propagande p\u00ebr t\u00eb \u2018edukuar\u2019 masat, nevoja p\u00ebr studime mbi audiencat e filmit shqiptar \u00ebsht\u00eb urgjente.<\/p>\n

Kinematografia e viteve \u201990 \u00ebsht\u00eb nj\u00eb perl\u00eb e cila tregon jo vet\u00ebm momentin filmik t\u00eb asaj kohe por, m\u00eb konkretisht, tregon historin\u00eb dhe trajektoren e evolucionit t\u00eb filmit shqiptar, sesi ai kaloi nga\u00a0Tana<\/em>\u00a0(Kristaq Dhamo, 1958) tek\u00a0Horizonte t\u00eb hapur<\/em>\u00a0(Viktor Gjika, 1968), tek\u00a0Tomka dhe shok\u00ebt e tij\u00a0<\/em>(Xhanfize Keko, 1977), tek\u00a0Duaje emrin t\u00ebnd<\/em>\u00a0(Ibrahim Mu\u00e7o & Kristaq Mitro, 1984), dhe ariti tek\u00a0P\u00ebrdhunuesit<\/em>\u00a0(Spartak Pecani, 1994) dhe Bolero (Besnik Bisha, 1997). T\u00eb dish t\u00eb lexosh nj\u00eb film \u2013 t\u00eb dish t\u00eb shikosh nj\u00eb film \u2013 do t\u00eb thot\u00eb t\u00eb kesh nj\u00eb njohuri historike kontekstuale dhe t\u00eb dish ta vendos\u00ebsh at\u00eb n\u00eb nj\u00eb kontekst m\u00eb t\u00eb gjer\u00eb kulturor dhe shoq\u00ebror pjes\u00eb e s\u00eb cil\u00ebs je gjithmon\u00eb ti si spektator.<\/p>\n

At\u00ebher\u00eb, si flet filmi shqiptar n\u00eb spektatorin shqiptar n\u00eb nj\u00eb m\u00ebnyr\u00eb t\u00eb ndryshme nga filmi i huaj? Si e kupton filmin e viteve \u201990 spektatori shqiptar i vitit 2018 dhe \u00e7far\u00eb ndikon mbi m\u00ebnyr\u00ebn sesi spektatori e krijon at\u00eb kuptim? \u00c7far\u00eb mendojm\u00eb sot se filmat e \u201990 b\u00ebnin p\u00ebr spekatot\u00ebt e asaj kohe dhe si mund t\u00eb vler\u00ebsojm\u00eb kontributin kulturor e nj\u00eb filmi t\u00eb vet\u00ebm ose kontributin e tij si pjes\u00eb e nj\u00eb grupi filmash t\u00eb nj\u00eb periudhe t\u00eb caktuar? Kur, ku, dhe si i ndjekim filmat shqiptar\u00eb n\u00eb koh\u00ebn ton\u00eb, dhe \u00e7far\u00eb lloj tregimesh i tregojm\u00eb vetes ton\u00eb? Jan\u00eb shum\u00eb pyetjet rreth r\u00ebnd\u00ebsis\u00eb s\u00eb spektatorit si nj\u00eb pik\u00eb divergjente midis prodhimit, shp\u00ebrndarjes, dhe konsumit t\u00eb filmave, ndaj \u00ebsht\u00eb nevoj\u00eb t\u00eb krijojm\u00eb s\u00eb pari nj\u00eb kultur\u00eb t\u00eb shikimit, nj\u00eb atmosfer\u00eb t\u00eb nj\u00eb audience t\u00eb ve\u00e7ant\u00eb me karakteristikat e veta dhe m\u00ebnyrat e veta t\u00eb t\u00eb shikuarit nj\u00eb film. Jo \u00e7do spektator \u00ebsht\u00eb i vet\u00ebdijsh\u00ebm se \u00ebsht\u00eb pjes\u00eb e nj\u00eb audience m\u00eb t\u00eb gjer\u00eb, se sjell n\u00eb sall\u00ebn e kinemas\u00eb p\u00ebrvojat, paragjykimet, p\u00ebrshtypjet, dhe interpretimet e veta, dhe se jan\u00eb k\u00ebto pik\u00ebrisht q\u00eb krijojn\u00eb vler\u00ebn e nj\u00eb filmi n\u00eb vet\u00ebdijen publike.<\/p>\n

Si studiuese e filmit artistik mund t\u00eb them se asnj\u00eb film t\u00eb Hollivudit klasik nuk m\u00eb ka prekur si\u00a0Tana,<\/em>\u00a0asnj\u00eb film i regjisorit tim t\u00eb preferuar nga neorealist\u00ebt Italian\u00eb, Vittorio De Sica, nuk shpreh gjendjen njer\u00ebzore si filmat e Xhanfize Kekos, asnj\u00eb film t\u00eb Agnes Varda, n\u00ebn\u00ebs s\u00eb val\u00ebs t\u00eb re t\u00eb filmit francez, nuk krijon shijen q\u00eb m\u00eb l\u00eb nj\u00eb film i Piro Milkanit osei \u00a0Kujtim \u00c7ashkut, dhe asnj\u00eb film i Ingmar Bergman nuk mund t\u00eb tregoj\u00eb nj\u00eb tregim n\u00eb t\u00eb nj\u00ebjt\u00ebn m\u00ebnyr\u00eb si\u00e7 e tregon nj\u00eb tregim Viktor Gjika apo Dhimit\u00ebr Anagnosti. Sepse, sado i \u2018vog\u00ebl\u2019 mund t\u00eb quhet filmi shqiptar para gjigand\u00ebve bot\u00ebror\u00eb, ai flet n\u00eb nj\u00eb gjuh\u00eb t\u00eb ve\u00e7ant\u00eb, dhe sfidon m\u00ebnyr\u00ebn sesi deri sot kam shikuar dhe kam kuptuar filmin si produkt kulturor. Mbi t\u00eb gjitha, filmi shqiptar m\u00eb m\u00ebsoi si t\u00eb jem shikuese shqiptare.<\/p>\n

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Asgj\u00eb tjet\u00ebr m\u00eb shum\u00eb sesa nj\u00eb film, nuk \u00ebsht\u00eb n\u00eb gjendje t\u00eb na transportoj\u00eb, n\u00ebp\u00ebrmjet fantazis\u00eb, n\u00eb vendet m\u00eb t\u00eb paimagjinueshme – Vladimir Prifti, T\u00eb dish t\u00eb lexosh nj\u00eb film   Askush nuk flet p\u00ebr filmin shqiptar me m\u00eb shum\u00eb dashuri, adhurim, dhe admirim sesa kineastja dhe drejtuesja e Arkivit Qendror Shtet\u00ebror t\u00eb Filmit, Iris […]<\/p>","protected":false},"author":414,"featured_media":10519,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[1903,1902,1905,1904],"ppma_author":[773],"class_list":["post-4259","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-arkiva","tag-arkivi-qendror-shteteror-i-filmit","tag-kinematografia","tag-vitet-e-90-ta"],"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\/4259","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=4259"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4259\/revisions"}],"predecessor-version":[{"id":10520,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4259\/revisions\/10520"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/10519"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=4259"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=4259"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=4259"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=4259"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}