{"id":4649,"date":"2015-11-06T14:33:05","date_gmt":"2015-11-06T12:33:05","guid":{"rendered":"https:\/\/sbunker.org\/?p=4649"},"modified":"2024-10-14T14:09:23","modified_gmt":"2024-10-14T12:09:23","slug":"letersia-ne-kinema","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/opinion\/letersia-ne-kinema\/","title":{"rendered":"Let\u00ebrsia n\u00eb kinema"},"content":{"rendered":"<div class=\"news-up\"><\/div>\n<div class=\"news-down\">\n<div class=\"img-wrapper\"><img decoding=\"async\" src=\"https:\/\/sbunker.net\/uploads\/sbunker.net\/images\/2016\/August\/02\/auto_rsz_photo-1465433045946-ba6506ce5a591470141367.jpg\" \/><\/div>\n<div class=\"news-left\">\n<p><em>Kinemaja \u00ebsht\u00eb e bazuar n\u00eb dy lloj t\u00eb regjisor\u00ebve,<br \/>\nt\u00eb cil\u00ebt po ashtu zhvillojn\u00eb dy lloje t\u00eb ndrysh\u00ebm<br \/>\nt\u00eb filmave: ata q\u00eb imitoj\u00eb bot\u00ebn dhe<br \/>\nata q\u00eb krijojn\u00eb bot\u00ebn e tyre \u2013 k\u00ebta t\u00eb fundit jan\u00eb<br \/>\npoet\u00ebt e kinemas\u00eb dhe un\u00eb besoj se vet\u00ebm<br \/>\npoet\u00ebt do t\u00eb futen n\u00eb historin\u00eb e kinemas\u00eb.<\/em><\/p>\n<p>Andrei Tarkovsky<\/p>\n<p>&nbsp;<\/p>\n<p>\u00cbsht\u00eb interesant t\u00eb analizohe fenomene t\u00eb ndryshme q\u00eb e ndikojn\u00eb kineman\u00eb dhe anasjelltas gjithashtu. Duhet ta theksoj q\u00eb n\u00eb fillim se ne k\u00ebtu nuk do t\u00eb merremi me problematik\u00ebn e v\u00ebshtersive t\u00eb adaptimit t\u00eb romanit n\u00eb film. Ajo \u00e7ka ne do t\u00eb trajtojm k\u00ebtu \u00ebsht\u00eb; ndikimet e let\u00ebrsis\u00eb n\u00eb kinema apo raprtet t\u00eb cilat krijojn\u00eb k\u00ebt\u00eb lidhje. P\u00ebrshtatja apo adaptimi i nj\u00eb libri letrar n\u00eb film, apo ekranizimi i nj\u00eb romani \u00ebsht\u00eb praktik\u00eb shum\u00eb e her\u00ebshm\u00eb. Kjo m\u00ebnyr\u00eb e t\u00eb b\u00ebrit film nis\u00eb q\u00eb m\u00eb 1924, Erich von Stroheim-in, i cili tentoi ta adaptoj romanin e Frank Norris-it McTeague dhe q\u00eb at\u00ebher\u00eb ky trend i ekranizimit t\u00eb librave t\u00eb ndrysh\u00ebm vazhdon madje edhe sot. Por, pse ndodh nj\u00eb praktik\u00eb e till\u00eb e adaptimit t\u00eb romanit n\u00eb kinema? Pse e gjith\u00eb kjo k\u00ebrsh\u00ebri p\u00ebr ta ekranizuar nj\u00eb lib\u00ebr? Nw vazhdim do t\u2019i nd\u00ebrmendim disa nga k\u00ebto specifika q\u00eb ndikojn\u00eb n\u00eb ekranizimin e let\u00ebrsis\u00eb.<\/p>\n<p>\u00cbsht\u00eb e v\u00ebrtet\u00eb q\u00eb let\u00ebrsia (n\u00eb ve\u00e7anti) e ka ndikuar mjaft shum\u00eb kineman\u00eb. P\u00ebrve\u00e7 mund\u00ebsis m\u00eb fleksibile t\u00eb ekranizimit t\u00eb nj\u00eb romani, \u00ebsht\u00eb e r\u00ebnd\u00ebsishme edhe ideja q\u00eb ofron ai. \u00c7\u2019\u00ebsht\u00eb e v\u00ebrteta let\u00ebrsia e shekullit t\u00eb kaluar ishte nj\u00eb avangard e ideve, e risive. N\u00eb krahasim me artet tjera, ajo ecte me hapa rapid. P\u00ebrve\u00e7 k\u00ebsaj let\u00ebrsia p\u00ebrbrenda p\u00ebrmban nje shum\u00ebsi t\u00eb ideve, nj\u00eb kolorit t\u00eb imazheve, por edhe nj\u00eb strukturim tekstual dhe hapsinor, dhe q\u00eb k\u00ebto p\u00ebrformanca ishin edhe nj\u00ebra nga k\u00ebrkesat q\u00eb let\u00ebrsia t\u2019i b\u00ebhej attachment kinemas\u00eb. Mir\u00ebpo, \u00ebsht\u00eb interesant t\u00eb ceket se shumica e regjisor\u00ebve q\u00eb praktikonin adaptimin e romanit n\u00eb film, nuk insistoni q\u00eb filmi t\u2019i ngjaj romanit, por n\u00eb nj\u00ebfar\u00eb forme romani i ekranizuar t\u00eb ishte nj\u00eb roman\/film i filmb\u00ebrsit. P.sh., kur F.W. Murnau m\u00eb 1926 e adaptoi n\u00eb film Faust-in e Goethe-s, n\u00eb fakt p\u00ebrve\u00e7 ides\u00eb baz\u00eb t\u00eb librit, Faust-i i Murnau-t nuk ishte Faust-i i Goethe-s. Mbase Faust-i i Murnau-t ishte nj\u00eb stil i atill\u00eb q\u00eb e ridefinon edhe Faust-in e Goethe-s. Pra, n\u00ebp\u00ebrmes ekranizimit t\u00eb nj\u00eb romani ndodh\u00eb prodhimi i nj\u00eb dimensioni t\u00eb ri q\u00eb \u00ebsht\u00eb sinjifikativ i j\u00eb ridefinimi p\u00ebrmbajt\u00ebsor t\u00eb m\u00eb hersh\u00ebm. D.m.th., ky f\u00ebrkim i let\u00ebrsis\u00eb me kineman\u00eb \u00ebsht\u00eb rivendosja e nj\u00eb stili apo si\u00e7 shprehet Deleuze \u201cstili \u00ebsht\u00eb hap\u00ebsira e tendosur brenda s\u00eb cil\u00ebs ngjizja e koncepteve krijon shk\u00ebndija\u201d. Kjo shtrirje e romanit n\u00eb shiritin filmik krijon momente t\u00eb r\u00ebnd\u00ebsishme n\u00eb kinema; momenti i par\u00eb \u00ebsht\u00eb estetika q\u00eb krijohet me riprodhimin e romanit dhe momenti i dyt\u00eb \u00ebsht\u00eb stili. K\u00ebto dy momente p\u00ebrve\u00e7 sharmit q\u00eb i japin kinemas\u00eb, jan\u00eb edhe p\u00ebrmbajtja e nj\u00eb forme t\u00eb re. Andaj, pik\u00ebrisht k\u00ebtu v\u00ebrejm se filmi nuk \u00ebsht\u00eb deskriptiv, e as imitim. N\u00eb k\u00ebt\u00eb rast filmi \u00ebsht\u00eb nj\u00eb riprodhim q\u00eb nxirret gjat\u00eb puqjes s\u00eb let\u00ebrsis\u00eb me kineman\u00eb.<\/p>\n<p>Nj\u00eb nga kritik\u00ebt e r\u00ebnd\u00ebsish\u00ebm q\u00eb \u00ebsht\u00eb marr\u00eb me k\u00ebt\u00eb problematik\u00eb, \u00ebsht\u00eb George Bluestone. Ai pohonte se n\u00ebse ne flasim p\u00ebr adaptimin e nj\u00eb vepre letrare n\u00eb film n\u00eb m\u00ebnyr\u00eb t\u00eb fjal\u00eb-p\u00ebr-fjalshme, at\u00ebher\u00eb kjo \u00ebsht\u00eb qesharake. Sipas tij v\u00ebsht\u00ebrsia kryesore \u00ebsht\u00eb lidhja e imazhit q\u00eb transmeton libri me imazhin q\u00eb na e ofron filmi, sepse, Bluestone e pranon ndryshueshm\u00ebrin n\u00eb k\u00ebt\u00eb rast. Mir\u00ebpo, n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb, ai tregon p\u00ebr dallimin themelor mes m\u00ebnyr\u00ebs q\u00eb i kan\u00eb prodhuar k\u00ebto imazhe k\u00ebto dy media (libri dhe filmi) dhe se si ato transmetohen. Imazhi dhe struktura e nj\u00eb romani \u00ebsht\u00eb edhe e nd\u00ebrtuar ndryshe, por \u00ebsht\u00eb ndryshe edhe p\u00ebr nga ana e p\u00ebrjetimit n\u00eb raport me imazhin dhe struktur\u00ebn e filmit. Mir\u00ebpo, p\u00ebr Bluesrone kjo nuk paraqet hendikep n\u00eb adaptimin e romanit n\u00eb film, sepse ai pohon se vet ideja e adaptimit obligon n\u00eb nj\u00ebfar\u00eb forme specifika t\u00eb reja. Po ashtu skenaristi Peter Ustinov thot\u00eb se: \u201cP\u00ebrshtatja e nj\u00eb vepre letrare n\u00eb film \u00ebsht\u00eb, pa dyshim, nj\u00eb nd\u00ebrmarrje krijues, por n\u00eb k\u00ebt\u00eb raast detyra k\u00ebrkon nj\u00eb lloj interpretimi selektiv, s\u00eb bashku me aft\u00ebsin p\u00ebr t\u00eb rikrijuar dhe mb\u00ebshtetur p\u00ebrmbajtjen themelore\u201d. Andaj, Bluestone, megjithat\u00eb n\u00eb fund insiston q\u00eb &#8220;&#8230;imazhet konceptuale q\u00eb zgjohen\u00a0 nga stimuj verbal v\u00ebshtir\u00eb se mund t\u00eb dallohen n\u00eb fund t\u00eb fundit nga ato imazhe q\u00eb shkaktohen nga stimujt jo-verbal&#8221;. Pra, Me k\u00ebt\u00eb rast ai tenton t\u2019i pajtoj dhe nj\u00ebkoh\u00ebsisht t\u00eb krijoj nj\u00eb lidhje n\u00eb mes t\u00eb k\u00ebtyre dy mediave.<\/p>\n<p>Krakteristik\u00eb tjet\u00ebr dhe shum\u00eb e r\u00ebnd\u00ebsishme q\u00eb let\u00ebrsia ka ushtruar dhe ushtron ndikim mbi kineman\u00eb, \u00ebsht\u00eb edhe fuqia e ndikimit q\u00eb ushtron let\u00ebrsia n\u00eb shoq\u00ebri. Emra t\u00eb mdhej t\u00eb let\u00ebrsis\u00eb dhe ndikimi i tyre ka b\u00ebr\u00eb q\u00eb t\u00eb ushtroj nj\u00eb trysni tek t\u00eb gjitha artet dhe jo vet\u00ebm. Kjo fuqi subverzive (n\u00eb k\u00ebt\u00eb rast), p\u00ebrve\u00e7 ideve dhe koloritit t\u00eb shp\u00ebrfaqjeve t\u00eb formave t\u00eb ndryshme, krijoi edhe nj\u00eb treg shum\u00eb fitimprur\u00ebs n\u00eb fush\u00ebn kinematografike. Bluestone dhe shum\u00eb kritik t\u00eb tjer\u00eb mendojnse se p\u00ebrv\u00e7 arsyeve t\u00eb lart\u00ebcekura, filmimi i nj\u00eb romani ndodh edhe p\u00ebr shkaqe komerciale. Prandaj ai thot\u00eb se: \u201cArsyet e filmb\u00ebr\u00ebsve p\u00ebr adaptime t\u00eb vazhdueshme l\u00ebvizin n\u00eb mes t\u00eb dy poleve; polit t\u00eb komercializmit t\u00eb pagdhendur dhe respektit t\u00eb lart\u00eb q\u00eb \u00ebsht\u00eb p\u00ebr veprat letrare\u201d. Ai mendon se \u00ebsht\u00eb joshja e nj\u00eb titulli t\u00eb parashitur, respekti apo popullariteti q\u00eb g\u00ebzon ai, arrin\u00eb q\u00eb nj\u00eb medium tjet\u00ebr (n\u00eb k\u00ebt\u00eb rast kinemaj), ta kapitalizoj edhe n\u00eb prstigj, por edhe si form\u00eb komerciale. Andaj, kur flasim p\u00ebr ndikimin e l\u00ebtersis\u00eb n\u00eb kinema duhet ta kemi t\u00eb qart\u00eb se kemi nj\u00eb gam\u00eb t\u00eb gjer\u00eb t\u00eb fenomeneve t\u00eb ndryshme q\u00eb kan\u00eb b\u00ebr\u00eb q\u00eb kinemaja n\u00eb nj\u00ebfar\u00eb forme ta ekranizoj let\u00ebrsin\u00eb.<\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>Kinemaja \u00ebsht\u00eb e bazuar n\u00eb dy lloj t\u00eb regjisor\u00ebve, t\u00eb cil\u00ebt po ashtu zhvillojn\u00eb dy lloje t\u00eb ndrysh\u00ebm t\u00eb filmave: ata q\u00eb imitoj\u00eb bot\u00ebn dhe ata q\u00eb krijojn\u00eb bot\u00ebn e tyre \u2013 k\u00ebta t\u00eb fundit jan\u00eb poet\u00ebt e kinemas\u00eb dhe un\u00eb besoj se vet\u00ebm poet\u00ebt do t\u00eb futen n\u00eb historin\u00eb e kinemas\u00eb. Andrei Tarkovsky &nbsp; [&hellip;]<\/p>","protected":false},"author":266,"featured_media":7966,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"ppma_author":[733],"class_list":["post-4649","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-opinion"],"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\/4649","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=4649"}],"version-history":[{"count":2,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4649\/revisions"}],"predecessor-version":[{"id":8283,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4649\/revisions\/8283"}],"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=4649"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=4649"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=4649"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=4649"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}