{"id":4693,"date":"2015-11-22T19:45:28","date_gmt":"2015-11-22T17:45:28","guid":{"rendered":"https:\/\/sbunker.org\/?p=4693"},"modified":"2024-10-14T13:58:42","modified_gmt":"2024-10-14T11:58:42","slug":"kinemaja-si-narracion","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/opinion\/kinemaja-si-narracion\/","title":{"rendered":"Kinemaja si narracion"},"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-1458053688450-eef5d21d43b31470145717.jpg\" \/><\/div>\n<div class=\"news-left\">\n<p><em>Un\u00eb mendoj se kinemaja, filmat dhe magjia<br \/>\nkan\u00eb qen\u00eb gjithmon\u00eb t\u00eb lidhura ngusht\u00ebsisht.<br \/>\nNjer\u00ebzit q\u00eb kan\u00eb b\u00ebr\u00eb filma shum\u00eb m\u00eb her\u00ebt<br \/>\nkan\u00eb qen\u00eb magjistar\u00eb.<\/em><\/p>\n<p>Francis Ford Coppola<\/p>\n<p>&nbsp;<\/p>\n<p>Zakonisht ne jemi m\u00ebsuar q\u00eb historin\u00eb ta shohim si narratore t\u00eb ngjarjeve t\u00eb ndryshme. \u00c7do fakt, \u00e7do moment apo ngjarje ia kemi besuar p\u00ebr interpretim historis\u00eb. Edhe p\u00ebrkund\u00ebr asaj se shpesh jeni ndier\u00eb t\u00eb indinjuar nga ajo se \u00e7far\u00eb na ka ofruar historia, n\u00eb nj\u00ebfar\u00eb forme prap\u00ebseprap\u00eb kemi heshtur para autoritetit t\u00eb saj. Mbase duke pasur k\u00ebt\u00eb primat t\u00eb interpretimit t\u00eb ngjarjeve, historia filloi t\u00eb krijoj\u00eb metarr\u00ebfime. K\u00ebto metanarracione u b\u00ebn\u00eb, si\u00e7 thot\u00eb Lyotard-i, burim i nj\u00eb bote t\u00eb futur n\u00eb kaos. Jo m\u00eb kot Joyce-i thot\u00eb se: \u201cHistoria \u00ebsht\u00eb nj\u00eb makth nga i cili dua t\u00eb zgjohem\u201d. Ky mosbesim n\u00eb k\u00ebto metanarrativa filloi t\u00eb krijoj\u00eb rr\u00ebfime t\u00eb ve\u00e7anta (partikulare). Mir\u00ebpo, duhet ta kemi t\u00eb qart\u00eb se \u2018narracioni\u2019, si\u00e7 jemi m\u00ebsuar ta marrim si t\u00eb mir\u00ebqen\u00eb, nuk i p\u00ebrket vet\u00ebm historis\u00eb. Narracion kemi edhe n\u00eb fushat e tjera. N\u00eb nj\u00eb intervist\u00eb ekskluzive p\u00ebr revist\u00ebn SYMBOL (revist\u00eb kulturore, t\u00eb cil\u00ebn e nxjerr sht\u00ebpia botuese OM, n\u00eb Prishtin\u00eb), teoricenia dhe narratologia Mieke Bal thot\u00eb: \u201cNarrativa n\u00eb vetvete, si nj\u00eb mod\u00eb kulturore, \u00ebsht\u00eb medium i pavarur. N\u00eb \u00e7do medium ajo merr forma t\u00eb ndryshme, sepse e ngulit vet\u00ebn n\u00eb medium\u201d. Pra, nga kjo v\u00ebrehet se narratologjia si form\u00eb \u00ebsht\u00eb pjes\u00eb edhe e fushave t\u00eb tjera, jo vet\u00ebm pjes\u00eb e historis\u00eb. Pra, si\u00e7 v\u00ebrejm\u00eb, narracioni \u00ebsht\u00eb edhe pjes\u00eb inherente e kinemas\u00eb.<\/p>\n<p>Prandaj, ndryshe nga historia q\u00eb insiston n\u00eb deskriptimin milimetrik t\u00eb fakteve dhe t\u00eb ngjarjeve n\u00eb p\u00ebrgjith\u00ebsi, kinemaja insiston jo vet\u00ebm n\u00eb paraqitje, por edhe n\u00eb kriijimin e ngjarjeve. Pra, n\u00eb k\u00ebt\u00eb kontekst, kinemaja narrative e bart kuptimin q\u00eb regjisori ka lirin\u00eb p\u00ebr t\u00eb krijuar linjat e tregimit dhe t\u00eb ndryshoj\u00eb faktet historike ashtu si ai i projekton. Kjo liri e t\u00eb b\u00ebrit film, ku ngjarjet dhe faktet historike mund edhe t\u00eb ndryshohen, sepse m\u00eb nuk paraqesin domosdoshm\u00ebrin\u00eb e interpretimit historiografik, n\u00eb nj\u00ebfar\u00eb m\u00ebnyre kinemas\u00eb i dha fuqin\u00eb interpretative. Ky moment, ku tanim\u00eb kinemaja \u00ebsht\u00eb ajo q\u00eb flet, u b\u00eb efialtes (greqisht \u2013 demoni i cili prish gjumin) i historis\u00eb.<\/p>\n<p>Se si kinemaja u b\u00eb narratorja p\u00ebr interpretimin e ngjarjeve dhe fenomeneve t\u00eb ndryshme do t\u00eb mundohemi ta elaborojm\u00eb n\u00ebp\u00ebrmes filmit Apocalypse Now t\u00eb regjisorit Francis Ford Coppola.<\/p>\n<p>\u00cbsht\u00eb interesant t\u00eb theksohet se lufta e Vietnamit nga optika historike \u00ebsht\u00eb paraqitur si nj\u00eb luft\u00eb ku Amerika atje n\u00eb nj\u00eb form\u00eb, mbron interesin strategjik komb\u00ebtar t\u00eb saj. Madje n\u00eb k\u00ebt\u00eb luft\u00eb Amerika m\u00ebton ta paraqes\u00eb edhe fuqin\u00eb e saj ushtarake dhe teknologjike karshi nj\u00eb bote t\u00eb pazhvilluar e arkaike. Narracioni q\u00eb prodhohet n\u00ebp\u00ebrmes dimensionit historiografik, pavar\u00ebsisht defekteve reale, \u00ebsht\u00eb ekuivalent me d\u00ebshir\u00ebn e saj, kurse d\u00ebshira n\u00eb k\u00ebt\u00eb rast \u00ebsht\u00eb skizofrenia e k\u00ebsaj lufte. Epo, pik\u00ebrisht kjo d\u00ebshir\u00eb skizofrenike kuptim\u00ebsohet n\u00eb filmin Apocalypse Now. Coppola n\u00ebp\u00ebrmes k\u00ebtij filmi e shp\u00ebrfaq t\u00eb v\u00ebrtet\u00ebn e k\u00ebsaj lufte. Si\u00e7 shprehet edhe Jean Baudrillard: \u201cCoppola nuk b\u00ebn asgj\u00eb tjet\u00ebr: por teston fuqin\u00eb e kinemas\u00eb n\u00eb intervenim, teston impaktin e kinemas\u00eb q\u00eb b\u00ebhet nj\u00eb makineri e pamatshme e efekteve sociale\u201d.<\/p>\n<p>Pra, Coppola dimensionet e filmit i paraqet n\u00eb shp\u00ebrputhje me dimensionet e luft\u00ebs reale. Aq i gjer\u00eb dhe i thell\u00eb \u00ebsht\u00eb filmi Apocalypse Now, sa q\u00eb lufta e v\u00ebrtet\u00eb t\u00eb duket qesharake. Fundi i luft\u00ebs n\u00eb fillim t\u00eb filmit, i paralajm\u00ebruar nga grupi The Doors me k\u00ebng\u00ebn e tyre The end, n\u00eb fakt \u00ebsht\u00eb fillimi i Apocalypse Now. Kjo form\u00eb e narracionit q\u00eb Coppola e vendos q\u00eb n\u00eb fillim t\u00eb filmit tregon edhe fuqin\u00eb e kinemas\u00eb p\u00ebr t\u00eb prodhuar nj\u00eb narracion t\u00eb ri. Natyrshm\u00ebria e k\u00ebsaj lufte n\u00eb k\u00ebt\u00eb film e shp\u00ebrfaq panatyrshm\u00ebrin\u00eb e luft\u00ebs n\u00eb realitet. Me paraqitjen apokaliptike si intro, Coppola nuk pretendon t\u00eb na paraqes\u00eb vet\u00ebm tmerret n\u00eb Vietnam, por edhe ta kuptim\u00ebsoj\u00eb imazhin me shenja q\u00eb fillimi i filmit ta p\u00ebrmbledh\u00eb fundin e luft\u00ebs. Me k\u00ebt\u00eb film, Coppola kineman\u00eb e shn\u00ebdrron n\u00eb narratore reale. Jo si nj\u00eb kinema q\u00eb deskripton ngjarjet, por si nj\u00eb ngjarje tanim\u00eb e prodhuar nga vet\u00eb kinemaja. Me Apocalypse Now, pushon lufta, sepse fillon kinemaja.<\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>Un\u00eb mendoj se kinemaja, filmat dhe magjia kan\u00eb qen\u00eb gjithmon\u00eb t\u00eb lidhura ngusht\u00ebsisht. Njer\u00ebzit q\u00eb kan\u00eb b\u00ebr\u00eb filma shum\u00eb m\u00eb her\u00ebt kan\u00eb qen\u00eb magjistar\u00eb. Francis Ford Coppola &nbsp; Zakonisht ne jemi m\u00ebsuar q\u00eb historin\u00eb ta shohim si narratore t\u00eb ngjarjeve t\u00eb ndryshme. \u00c7do fakt, \u00e7do moment apo ngjarje ia kemi besuar p\u00ebr interpretim historis\u00eb. Edhe [&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":[748],"ppma_author":[733],"class_list":["post-4693","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\/4693","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=4693"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4693\/revisions"}],"predecessor-version":[{"id":8276,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4693\/revisions\/8276"}],"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=4693"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=4693"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=4693"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=4693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}