{"id":4626,"date":"2015-10-20T16:34:20","date_gmt":"2015-10-20T14:34:20","guid":{"rendered":"https:\/\/sbunker.org\/?p=4626"},"modified":"2024-10-14T14:14:58","modified_gmt":"2024-10-14T12:14:58","slug":"ontologjizimi-i-kinemase","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/opinion\/ontologjizimi-i-kinemase\/","title":{"rendered":"Ontologjizimi i Kinemas\u00eb"},"content":{"rendered":"
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N\u00ebse bota do t\u00eb ishte e qart\u00eb,
\narti nuk do t\u00eb ekzistonte.<\/em><\/p>\n

Albert Camus<\/p>\n

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Nj\u00eb nd\u00ebr format m\u00eb t\u00eb lashta dhe nj\u00ebherit m\u00eb t\u00eb r\u00ebnd\u00ebsishme q\u00eb e p\u00ebrb\u00ebn jet\u00ebn ton\u00eb \u00ebsht\u00eb po ashtu edhe arti. Edhe pse nga shum\u00eb teori t\u00eb ndryshme, duke filluar q\u00eb n\u00eb antikitet me Platonin, arti \u00ebsht\u00eb kritikuar si nj\u00eb form\u00eb e t\u00eb shprehurit q\u00eb na lajthit, q\u00eb nuk i jep aq sa duhet kuptim gj\u00ebrave q\u00eb na rrethojn\u00eb, madje arti vet\u00ebm se na e pamund\u00ebson mund\u00ebsin\u00eb e t\u00eb njohurit t\u00eb bot\u00ebs q\u00eb na rrethon. Duke e v\u00ebn\u00eb n\u00eb dilem\u00eb mund\u00ebsin\u00eb q\u00eb n\u00ebp\u00ebrmes artit ta kuptojm\u00eb t\u00eb v\u00ebrtet\u00ebn, Platoni pohon se arti hyn n\u00eb radh\u00ebn e opinioneve, d.m.th., ai nuuk \u00ebsht\u00eb dhe nuk na d\u00ebrgon kah e v\u00ebrteta. Prandaj, Platoni shprehet se \u2018arti \u00ebsht\u00eb kopja e kopjes\u2019, p\u00ebr faktin se na largon dy her\u00eb nga e v\u00ebrteta. Mir\u00ebpo k\u00ebtij lin\u00e7i q\u00eb i b\u00ebhet artit, m\u00eb von\u00eb Nietzsche do t\u2019i p\u00ebrgjigjet n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb: \u201c(…) arti \u00ebsht\u00eb pra nj\u00eb nevojshm\u00ebri sublime, edhe p\u00ebr faktin se ai g\u00ebnjen\u201d. Me k\u00ebt\u00eb Nietzsche d\u00ebshiron q\u00eb t\u00eb na paraqes\u00eb form\u00ebn e v\u00ebrtet\u00eb q\u00eb arti e shpreh. Sepse, sipas teoris\u00eb platoniste ne arrijm\u00eb t\u00eb njohim bot\u00ebn vet\u00ebm n\u00ebp\u00ebrmjet mendjes. Kurse Nietzsche k\u00ebt\u00eb t\u00eb \u2018v\u00ebrtet\u00eb\u2019 platoniane e konsideron si nj\u00eb nga t\u00eb metat m\u00eb t\u00eb m\u00ebdha dhe m\u00eb t\u00eb rrezikshme n\u00eb Historin\u00eb e Filozofis\u00eb. P\u00ebr Nietzsche-n forma e par\u00eb, m\u00eb e lart\u00eb dhe m\u00eb sublime e jet\u00ebs njer\u00ebzore, ku njeriu mund ta realizoj\u00eb vet\u00ebn e tij, \u00ebsht\u00eb arti.<\/p>\n

Nga kjo q\u00eb \u00ebsht\u00eb cekur m\u00eb lart v\u00ebrehet se mospajtimet p\u00ebr r\u00ebnd\u00ebsin\u00eb dhe ndikimin e artit n\u00eb jet\u00ebn ton\u00eb jan\u00eb sa t\u00eb hershme, po aq edhe t\u00eb thella. Mir\u00ebpo, e v\u00ebrteta \u00ebsht\u00eb se; si Platoni ashtu dhe Nietzsche, paradoksalisht pajtohen n\u00eb nj\u00eb pik\u00eb kur thon\u00eb se; \u2018arti g\u00ebnjen\u2019, dhe po n\u00eb k\u00ebt\u00eb pik\u00eb nis\u00eb edhe ndarja m\u00eb e thell\u00eb mes tyre. Platoni mendon se arti na largon nga e v\u00ebrteta, nd\u00ebrsa Nietzsche mendon se ideja mbi t\u00eb v\u00ebrtet\u00ebn \u00ebsht\u00eb iluzion dhe se arti \u00ebsht\u00eb forma m\u00eb e mir\u00eb p\u00ebr t\u2019ia hapur dyert jet\u00ebs. Andaj, thuajse me nuancime terciare mund t\u00eb shprehemi se, arti jet\u00ebn e vet e zhvillon n\u00eb mes t\u00eb k\u00ebtyre dy kund\u00ebrth\u00ebnive. Mbase nj\u00eb kund\u00ebrth\u00ebnie e till\u00eb e ndjek edhe artin kinematografik. Mir\u00ebpo, ne n\u00eb vazhdim do t\u00eb mundohemi t\u00eb argumentojm\u00eb se pse kinemaja si shprehje e ve\u00e7ant\u00eb artistike anon kah dimensioni nietzsche-an.<\/p>\n

Duhet ta kemi parasysh q\u00eb kinemaja \u00ebsht\u00eb nj\u00eb nd\u00ebr dimensionet m\u00eb t\u00eb r\u00ebnd\u00ebsishme t\u00eb artit dhe q\u00eb ushtron nj\u00eb ndikim shum\u00eb t\u00eb fuqish\u00ebm n\u00eb shoq\u00ebrin\u00eb bashk\u00ebkohore. Ajo n\u00eb dit\u00ebt e sotme \u00ebsht\u00eb nj\u00eb nga mediumet shum\u00eb t\u00eb r\u00ebnd\u00ebsishme dhe t\u00eb pandashme t\u00eb shoq\u00ebris\u00eb. Fuqia e saj p\u00ebrve\u00e7q\u00eb njihet n\u00eb rrafshin artistik, estetik etj., ajo \u00ebsht\u00eb edhe nj\u00eb medium shum\u00eb i r\u00ebnd\u00ebsish\u00ebm n\u00eb shp\u00ebrndarjen e informacionit. Pra, me ndikimet e saja, kinemaja tanim\u00eb \u00ebsht\u00eb sh\u00ebndrruar n\u00eb nj\u00eb paradigm\u00eb kulturore mbar\u00eb globale. Madje Bela Balazs pohon se: \u201cKinemaja tek njer\u00ebzit ka ngritur edhe sensin estetik, dhe ka zgjeruar horizontin e shijes\u201d. Estetika, shija dhe dometh\u00ebnia e nj\u00eb filmi n\u00eb nj\u00ebfar\u00eb forme u b\u00ebn\u00eb tri shtyllat t\u00eb cilat e konstituuan edhe vet\u00eb fundamentin filozofik t\u00eb kinemas\u00eb. Arti filmik u b\u00eb nj\u00eb nga pikat m\u00eb referente n\u00eb momente t\u00eb caktuara. N\u00ebp\u00ebrmes artit filmik u b\u00ebn\u00eb kritika shum\u00eb t\u00eb ashpra, u thyen tabu, u kontestuan t\u00eb v\u00ebrtetat q\u00eb merreshin si t\u00eb mir\u00ebqena, u nd\u00ebrtuan dhe u shemb\u00ebn histori t\u00eb ndryshme. P\u00ebr k\u00ebt\u00eb Gilles Deleuze n\u00eb librin e tij Cinema 1 \u2013 The Movement Image shprehet: \u2018\u2026e v\u00ebrteta nuk m\u00ebsohet nga leximet filozofike apo nga diskutimet miq\u00ebsore, por ajo na b\u00ebhet e njohur nga shenjat q\u00eb ne perceptojm\u00eb n\u00eb dhimbjen e dashuris\u00eb apo n\u00eb mbresat misterioze q\u00eb na l\u00ebn\u00eb veprat e artit\u2019. Pra, fuqia e artit \u00ebsht\u00eb pik\u00ebrisht n\u00eb ndjeshm\u00ebrin\u00eb q\u00eb ai krijon dhe p\u00ebrcjell tek ne.<\/p>\n

Andaj, ontologjizimi i kinemans\u00eb q\u00ebndron pik\u00ebrisht n\u00eb k\u00ebt\u00eb ndjenj\u00eb, n\u00eb fuqin\u00eb transmetuese q\u00eb ajo prodhon. Kur fotograf\u00ebt e par\u00eb b\u00ebnin fotografit\u00eb e tyre ata kishin nj\u00eb d\u00ebshir\u00eb, q\u00eb personazhet e tyre t\u2019i b\u00ebnin t\u00eb l\u00ebviznin. Prandaj A. Bazin-i mendonte se kjo ide e tyre, kjo \u00ebnd\u00ebrr q\u00eb personazhet statike n\u00eb fotografi q\u00eb \u2018u mungon l\u00ebvizja p\u00ebr t\u2019u kthyer n\u00eb imazhe jete dhe kopje besnike t\u00eb natyr\u00ebs\u2019, \u00a0\u00ebsht\u00eb di\u00e7ka q\u00eb nuk e kan\u00eb par\u00eb fotograf\u00ebt diku m\u00eb her\u00ebt, por kjo ide g\u00eblonte n\u00eb kokat e tyre. Paraqitjen e nj\u00eb momenti natyralizues tanim\u00eb fotografia e kishte arritur, at\u00eb si\u00e7 pohon Bazin-i, piktura nuk mund ta transmetonte. Mir\u00ebpo, ky fiksim, kjo shp\u00ebrfaqje momentale e personazhit kishte krijuar nevoj\u00ebn q\u00eb t\u00eb kalohej nga imazhi fiksues n\u00eb imazhin l\u00ebviz\u00ebs. Dhe kush m\u00eb mir\u00eb e b\u00ebn k\u00ebt\u00eb l\u00ebvizje sesa filmi.<\/p>\n

N\u00eb film imazhet marrin karakter natyralizues; l\u00ebvizjet e personazheve n\u00eb film, jan\u00eb l\u00ebvizjet tona n\u00eb jet\u00ebn reale. Kjo form\u00eb e qen\u00ebsimit p\u00ebr Bazin-in \u00ebsht\u00eb ontologjizim i imazhit. Pra, p\u00ebr Bazin-in kinemaja \u00ebsht\u00eb ontologjike, edhe pse kjo p\u00ebrmban nj\u00eb paradoks \u2013 ajo na e ofron realitetin n\u00eb totalitet, na e shp\u00ebrfaq realitetin ashtu si\u00e7 \u00ebsht\u00eb, transparent, por q\u00eb nj\u00ebkoh\u00ebsisht na shp\u00ebrfaq edhe nj\u00eb fantazi totale. K\u00ebt\u00eb shp\u00ebrfaqje imazhiste, ku filmi procedon realitetin si totalitet kinematografik mund ta cil\u00ebsojm\u00eb si dimensioni kreativ ontologjik imazhologjik. Andaj, filmi sot \u00ebsht\u00eb nj\u00eb nga veprat artistike, me t\u00eb cilin njer\u00ebzimi ec\u00ebn paralel. Jo m\u00eb kot thuhet se: po aq sa jeta \u00ebsht\u00eb film, po aq edhe filmi \u00ebsht\u00eb jet\u00eb. Kjo shprehje q\u00eb krijon kinema n\u00ebp\u00ebrmes imazheve filmike \u00ebsht\u00eb shprehja gjuh\u00ebsore e saj. Andaj Bazin-i pohon se: \u2018kinemaja \u00ebsht\u00eb gjuh\u00eb\u2019, dhe q\u00eb kjo gjuh\u00eb vihet n\u00eb pah n\u00ebp\u00ebrmes flmit.<\/p>\n

_____________<\/p>\n

Foto: Weegeboreed \/ Flickr Creative Commons [CC by 2.0]<\/a><\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

N\u00ebse bota do t\u00eb ishte e qart\u00eb, arti nuk do t\u00eb ekzistonte. Albert Camus   Nj\u00eb nd\u00ebr format m\u00eb t\u00eb lashta dhe nj\u00ebherit m\u00eb t\u00eb r\u00ebnd\u00ebsishme q\u00eb e p\u00ebrb\u00ebn jet\u00ebn ton\u00eb \u00ebsht\u00eb po ashtu edhe arti. Edhe pse nga shum\u00eb teori t\u00eb ndryshme, duke filluar q\u00eb n\u00eb antikitet me Platonin, arti \u00ebsht\u00eb kritikuar si nj\u00eb […]<\/p>","protected":false},"author":266,"featured_media":7966,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[748],"ppma_author":[733],"class_list":["post-4626","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-opinion","tag-cinema"],"authors":[{"term_id":733,"user_id":266,"is_guest":0,"slug":"dritan-dragusha","display_name":"Dritan Dragusha","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2024\/10\/dritan.webp","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2024\/10\/dritan.webp"},"user_url":"","last_name":"Dragusha","first_name":"Dritan","description":"Dritan Dragusha \u00ebsht\u00eb i diplomuar n\u00eb filozofi, n\u00eb Universitetin e Prishtin\u00ebs. Dritani \u00ebsht\u00eb i fokusuar n\u00eb teori t\u00eb kultur\u00ebs dhe gjithashtu n\u00eb let\u00ebrsi, kinema dhe muzik\u00eb. Po ashtu, merret edhe me gazetari. \u00cbsht\u00eb kolumnist i rregullt n\u00eb platform\u00ebn online \"sbunker.net\". Ka qen\u00eb edhe m\u00ebsimdh\u00ebn\u00ebs i filozofis\u00eb dhe etik\u00ebs n\u00eb \"The British School Kosova\". Bashkautor n\u00eb projektin kulturor televiziv \"Filozofema\", n\u00eb Radio Televizionin e Kosov\u00ebs. Aktualisht Dritani \u00ebsht\u00eb autor dhe moderator i emisionit \"Prizma\", n\u00eb televizionin T7."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4626","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\/266"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/comments?post=4626"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4626\/revisions"}],"predecessor-version":[{"id":8289,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4626\/revisions\/8289"}],"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=4626"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=4626"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=4626"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=4626"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}