{"id":4454,"date":"2019-01-28T13:48:55","date_gmt":"2019-01-28T11:48:55","guid":{"rendered":"https:\/\/sbunker.org\/?p=4454"},"modified":"2024-10-16T15:56:27","modified_gmt":"2024-10-16T13:56:27","slug":"per-filmin-princess-mononoke","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/opinion\/per-filmin-princess-mononoke\/","title":{"rendered":"P\u00ebr filmin Princess Mononoke"},"content":{"rendered":"
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P\u00ebr filmin Princess Mononoke<\/h3>\n<\/div>\n
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Filmi Princess Mononoke p\u00ebrqendrohet te problemi m\u00eb madhor i bashk\u00ebkoh\u00ebsis\u00eb:\u00a0 p\u00ebrplasja midis natyr\u00ebs dhe teknologjis\u00eb, p\u00ebrplasja midis hyjnores dhe njer\u00ebzores, p\u00ebrplasja midis flijimit shpirt\u00ebror dhe p\u00ebrfitimit trupor. T\u00eb gjitha problemet e tjera jan\u00eb dyt\u00ebsore, kalimtare, thashetheme politike, pak\u00ebnaq\u00ebsi ekonomike dhe ngaz\u00ebllime t\u00eb panevojshme vetjake. Por k\u00ebtu, n\u00eb k\u00ebt\u00eb p\u00ebrplasje, jemi mu n\u00eb zgrip, gati duke humbur gjith\u00e7ka: t\u00eb shkuar\u00ebn, t\u00eb tashmen dhe t\u00eb ardhmen.<\/p>\n

N\u00eb sprov\u00ebn “Pyetja kushtuar teknologjis\u00eb”, Heidegger-i v\u00eb n\u00eb dukje se teknologjia bashk\u00ebkohore, pavar\u00ebsisht p\u00ebrfitimit vetjak, na e ka b\u00ebr\u00eb t\u00eb pamundur q\u00eb t\u00eb hyjm\u00eb n\u00eb nj\u00eb marr\u00ebdh\u00ebnie t\u00eb qart\u00eb me gjith\u00ebsin\u00eb. Teknologjia nuk \u00ebsht\u00eb nj\u00eb t\u00ebr\u00ebsi sendesh q\u00eb ne i p\u00ebrdorim p\u00ebr t\u00eb p\u00ebrmir\u00ebsuar jet\u00ebn ton\u00eb, por nj\u00eb marr\u00ebdh\u00ebnie e caktuar me gjith\u00ebsin\u00eb. Qasja teknologjike ndaj gjith\u00ebsis\u00eb e mbulon shpalljen e Qenies, duke e trajt\u00ebzuar at\u00eb n\u00eb nj\u00eb bashk\u00ebsi sendesh q\u00eb mund t\u00eb p\u00ebrdoren p\u00ebr nj\u00eb p\u00ebrfitim p\u00ebrfundimtar. Si pasoj\u00eb, teknologjia mbulon at\u00eb q\u00eb shpallin poet\u00ebt: nj\u00ebmend\u00ebsin\u00eb, ardhjen e hyjnive dhe Qenien.<\/p>\n

E p\u00ebrmend k\u00ebt\u00eb sprov\u00eb t\u00eb r\u00ebnd\u00ebsishme t\u00eb Heidegge-it pasi n\u00eb filmin Princess Mononoke shohim pik\u00ebrisht t\u00eb nj\u00ebjt\u00ebn gj\u00eb: zhvillimi i pakontrolluar i teknologjis\u00eb shkat\u00ebrron pyjet. Dhe t\u00eb mos harrojm\u00eb se, n\u00eb k\u00ebt\u00eb film, pyjet jan\u00eb banesa e hyjnive. Duke shkat\u00ebrruar pyjet, teknologjia pamund\u00ebson jet\u00ebn e hyjnive dhe jet\u00ebn shpirt\u00ebrore. Asgj\u00eb nuk shfaqet n\u00eb minier\u00ebn e hekurit, p\u00ebrve\u00e7 njeriut, vuajtjes dhe vdekjes. Thell\u00eb n\u00eb pyll fshihen hyjnit\u00eb, shpirtrat dhe vet\u00eb ardhja e jet\u00ebs.<\/p>\n

Pavar\u00ebsisht kritikave t\u00eb modernizmit, poet\u00ebt romantik\u00eb e kishin nj\u00eb gjysm\u00eb t\u00eb v\u00ebrtet\u00eb: natyra, edhe n\u00ebse nuk \u00ebsht\u00eb vet\u00eb Zoti, p\u00ebrmban brenda vetes heshtjen e fsheht\u00eb q\u00eb shpall frym\u00ebn e hyjnishme. Vet\u00eb d\u00ebshira e sotme e njer\u00ebzve, p\u00ebr t’u arratisur gjat\u00eb pushimeve nga zhurma e qytetit, shfaq nj\u00eb etje t\u00eb pashtershme p\u00ebr t’u kthyer te heshtja e jet\u00ebs shpirt\u00ebrore. Krishti vajti t\u00eb lutej n\u00eb kopshtin e ullinjve, jo n\u00eb sht\u00ebpin\u00eb shum\u00ebkat\u00ebshe dhe t\u00eb zhurmshme t\u00eb nj\u00eb pasaniku.<\/p>\n

T\u00ebr\u00eb filmi Princess Mononoke p\u00ebrshkruhet nga nj\u00eb dyzim metafizik: qeniet q\u00eb jan\u00eb hyjni jet\u00ebdh\u00ebn\u00ebse mund t\u00eb kthehen nj\u00eb dit\u00eb nga urrejtja edhe n\u00eb demon\u00eb gjakatar\u00eb.<\/p>\n

Brenda filmit shohim se e hynishmja, kur braktiset, harrohet dhe shkat\u00ebrrohet, rikthehet s\u00ebrish, por si nj\u00eb makth, si nj\u00eb demon i friksh\u00ebm: k\u00ebt\u00eb gj\u00eb e shohim me Hyun n\u00eb trajt\u00ebn e derrit t\u00eb eg\u00ebr. Natyra nuk p\u00ebrmban brenda vetes vet\u00ebm shpalljen e hyjnive, por edhe lindjen e demon\u00ebve. Natyra dhe hyjnit\u00eb nuk jan\u00eb t\u00eb pafajsh\u00ebm: njeriu dhe teknologjia po i shnd\u00ebrron ata dal\u00ebngadal\u00eb n\u00eb demon\u00eb t\u00eb mbushur me urrejtje. Vet\u00eb filmi fillon me nj\u00eb hyjni t\u00eb shnd\u00ebrruar n\u00eb demon, i cili i v\u00ebrsulet njer\u00ebzve me q\u00ebllimin p\u00ebr t\u2019i vrar\u00eb.<\/p>\n

T\u00eb nj\u00ebjtin dyzim q\u00eb shohim te natyra dhe hyjnit\u00eb, e hasim edhe te njeriu. Nga nj\u00ebra an\u00eb kemi njer\u00ebz si prij\u00ebsi Ashitaka, q\u00eb k\u00ebrkon bashk\u00ebjetes\u00eb midis natyr\u00ebs dhe teknologjis\u00eb. Nga ana tjet\u00ebr kemi p\u00ebrbind\u00ebsha teknologjik\u00eb si drejtuesja e minier\u00ebs s\u00eb hekurit, Ebosha, q\u00eb do t\u00eb shkat\u00ebrroj\u00eb \u00e7do gj\u00eb p\u00ebr p\u00ebrfitim vetjak. Ebosha nuk \u00ebsht\u00eb m\u00eb nj\u00eb njeri, por nj\u00eb qenie t\u00ebr\u00ebsisht e drejtuar nga p\u00ebrjetimi teknologjik i gjith\u00ebsis\u00eb. Ajo e b\u00ebn \u00e7do gj\u00eb n\u00eb em\u00ebr t\u00eb zhvillimit t\u00eb teknologjis\u00eb: vret njer\u00ebz p\u00ebr t\u00eb provuar arm\u00ebt e saj t\u00eb reja, shkat\u00ebrron natyr\u00ebn, banes\u00ebn e hyjnive, p\u00ebr t\u00eb vazhduar zhvillimin e paskaj t\u00eb teknologjis\u00eb. Drejtuesja Ebosha \u00ebsht\u00eb e mahnitur nga fuqia e arm\u00ebve. N\u00eb k\u00ebt\u00eb kuptim, drejtuesja Ebosha \u00ebsht\u00eb b\u00ebr\u00eb mish\u00ebrimi i asaj q\u00eb p\u00ebrshkruan filozofi francez Jacques Ellul te libri i tij Shoq\u00ebria Teknologjike: teknologjia nuk \u00ebsht\u00eb m\u00eb pjes\u00eb ndihmuese e zhvillimit t\u00eb dialektik\u00ebs s\u00eb shpirtit njer\u00ebzor. P\u00ebrkundrazi, njeriu \u00ebsht\u00eb kthyer n\u00eb nj\u00eb sh\u00ebrb\u00ebtor t\u00eb zhvillimit t\u00eb dialektik\u00ebs s\u00eb teknologjis\u00eb. Ne nuk jemi m\u00eb n\u00eb kontroll t\u00eb teknologjis\u00eb. \u00cbsht\u00eb pik\u00ebrisht teknologjia tanim\u00eb q\u00eb po na kontrollon neve.<\/p>\n

Nj\u00eb dyzim tjet\u00ebr hasim edhe te ndryshimi midis qenies n\u00eb natyr\u00eb dhe qenies brenda minier\u00ebs. Natyra shfaqet si nj\u00eb vend i heshtur, i fsheht\u00eb, nj\u00eb vend ku qenieve mund t\u2019i dhurohet jeta pakuptimisht ose mund t\u2019i merret jeta me nj\u00eb puthje nga Hyu. Nga ana tjet\u00ebr, kemi minier\u00ebn e hekurit: nj\u00eb vend t\u00eb pis\u00ebt, t\u00eb zhurmsh\u00ebm, t\u00eb mbushur me tym, t\u00eb trishtuar, me njer\u00ebz t\u00eb s\u00ebmur\u00eb, njer\u00ebz q\u00eb vdesin, me gra q\u00eb punojn\u00eb t\u00ebr\u00eb nat\u00ebn mekanikisht p\u00ebr hir t\u00eb zhvillimit teknologjik dhe p\u00ebrparimit.<\/p>\n

Krahas Ebosh\u00ebs kemi edhe p\u00ebrbind\u00ebshin tjet\u00ebr, murgun Jigo, i cili k\u00ebrkon t\u00eb vras\u00eb Hyun e jet\u00ebs dhe vdekjes p\u00ebr t’i dhuruar p\u00ebrjet\u00ebsi perandorit. N\u00eb shk\u00ebmbim, perandori i ka premtuar nj\u00eb mal me flori.\u00a0 Nuk \u00ebsht\u00eb rast\u00ebsi q\u00eb k\u00ebtu kemi pik\u00ebrisht nj\u00eb murg q\u00eb k\u00ebrkon prerjen e kok\u00ebs s\u00eb Hyut t\u00eb jet\u00ebs dhe vdekjes: edhe njer\u00ebzit fetar\u00eb jan\u00eb po aq t\u00eb ndikuar sa gjith\u00eb t\u00eb tjer\u00ebt nga qasja teknologjike kundrejt gjith\u00ebsis\u00eb.<\/p>\n

Zgjidhja nuk \u00ebsht\u00eb t\u00eb mohojm\u00eb teknologjin\u00eb dhe t\u00eb adhurojm\u00eb natyr\u00ebn. Interpretimi m\u00eb i keq i k\u00ebtij filmi do t\u00eb ishte shikimi i p\u00ebrplasjes midis natyr\u00ebs dhe teknologjis\u00eb si nj\u00eb p\u00ebrplasje morale midis s\u00eb mir\u00ebs dhe s\u00eb keqes. Zgjidhja \u00ebsht\u00eb arritja n\u00eb nj\u00eb gjendje ku zhvillimi i teknologjis\u00eb t\u00eb mos ta shkat\u00ebrroj\u00eb m\u00eb natyr\u00ebn dhe t\u00eb lejoj\u00eb bash\u00ebjetes\u00ebn midis tyre. Harmonia midis teknologjis\u00eb dhe natyr\u00ebs nuk do t\u00eb thot\u00eb se teknologjia apo natyra do t\u00eb zhduken. Si\u00e7 e shikojm\u00eb edhe n\u00eb fund t\u00eb filmit, teknologjia dhe natyra duhet t\u00eb ngelen t\u00eb ndryshme, por jo t\u00eb ndara. San, prij\u00ebsja e natyr\u00ebs, dhe Ashitaka, prij\u00ebsi i njer\u00ebzve, nuk do t\u00eb jetojn\u00eb bashk\u00eb: ata do t\u00eb jetojn\u00eb af\u00ebr nj\u00ebri-tjetrit dhe do t\u00eb takohen p\u00ebrkoh\u00ebsisht s\u00ebrish.<\/p>\n

Kur prij\u00ebsi Ashitaka hyri brenda minier\u00ebs s\u00eb hekurit, at\u00eb e pyesin se p\u00ebrse vendosi t\u00eb hynte aty. Ashitaka iu p\u00ebrgjigj se vendosi t\u00eb hynte n\u00eb minier\u00eb pasi donte t\u2019i shikonte gj\u00ebrat me kthjellt\u00ebsi. \u00cbsht\u00eb pik\u00ebrisht Ashitaka ai q\u00eb mundi t’i shikoj\u00eb gj\u00ebrat ashtu si\u00e7 jan\u00eb, nj\u00eb njeri i cili p\u00ebrmban brenda vetes nj\u00eb luft\u00eb t\u00eb madhe shpirt\u00ebrore. Mos t\u00eb harrojm\u00eb se vet\u00eb vdekja e Ashitak\u00ebs \u00ebsht\u00eb e paracaktuar nga nj\u00eb parath\u00ebn\u00ebse, dhe ai niset p\u00ebr t\u2019u p\u00ebrballuar me fatin e tij. Brenda filmit shfaqen dy lloj trajtash t\u00eb s\u00eb pand\u00ebrgjegjes: pand\u00ebrgjegjja e natyr\u00ebs dhe pand\u00ebrgjegjja bashk\u00ebkohore e teknologjis\u00eb. Qeniet e zhytura n\u00eb natyr\u00eb dhe njeriu i kontrolluar nga teknologjia jan\u00eb t\u00eb yshtur nga pavdek\u00ebsia. Shikimi i tyre \u00ebsht\u00eb i turbulluar nga d\u00ebshira p\u00ebr pushtet dhe amshim. Por shikimi i kthjell\u00ebt \u00ebsht\u00eb dhurat\u00eb e p\u00ebrballjes me vdekjen, jo i anashkalimit t\u00eb saj. Vet\u00ebm n\u00ebp\u00ebrmjet v\u00ebshtrimit t\u00eb kthjell\u00ebt ne do mund t\u00eb tejkalojm\u00eb dyzimin midis natyr\u00ebs dhe teknologjis\u00eb, midis Hyut dhe njeriut, midis flijimit shpirt\u00ebror dhe p\u00ebrfitimit trupor. Vet\u00ebdija e Ashitak\u00ebs p\u00ebr vdekjen e tij \u00ebsht\u00eb parashikimi i vet\u00eb vdekjes s\u00eb njer\u00ebzimit. Tani m\u00eb shum\u00eb se kurr\u00eb na nevojitet shikimi i kthjell\u00ebt. Kjo \u00ebsht\u00eb shpresa jon\u00eb e vetme.<\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

P\u00ebr filmin Princess Mononoke Filmi Princess Mononoke p\u00ebrqendrohet te problemi m\u00eb madhor i bashk\u00ebkoh\u00ebsis\u00eb:\u00a0 p\u00ebrplasja midis natyr\u00ebs dhe teknologjis\u00eb, p\u00ebrplasja midis hyjnores dhe njer\u00ebzores, p\u00ebrplasja midis flijimit shpirt\u00ebror dhe p\u00ebrfitimit trupor. T\u00eb gjitha problemet e tjera jan\u00eb dyt\u00ebsore, kalimtare, thashetheme politike, pak\u00ebnaq\u00ebsi ekonomike dhe ngaz\u00ebllime t\u00eb panevojshme vetjake. Por k\u00ebtu, n\u00eb k\u00ebt\u00eb p\u00ebrplasje, jemi mu […]<\/p>","protected":false},"author":3,"featured_media":8396,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[530],"ppma_author":[263],"class_list":["post-4454","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-opinion","tag-movie"],"authors":[{"term_id":263,"user_id":0,"is_guest":1,"slug":"erlind-sulko","display_name":"Erlind Sulko","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/sulko.jpeg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/sulko.jpeg"},"user_url":"","last_name":"","first_name":"","description":"Erlind Sulko ka lindur n\u00eb Tiran\u00eb, Shqip\u00ebri. Ka mbaruar studimet ba\u00e7elor p\u00ebr filozofi n\u00eb Universitetin e Otav\u00ebs, Kanada. Tani merret kryesisht me poezi, hulumtime letrare dhe mbledhje librash t\u00eb vjet\u00ebr e t\u00eb rrall\u00eb."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4454","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\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/comments?post=4454"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4454\/revisions"}],"predecessor-version":[{"id":8423,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4454\/revisions\/8423"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/8396"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=4454"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=4454"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=4454"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=4454"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}