{"id":4909,"date":"2015-12-15T12:19:28","date_gmt":"2015-12-15T10:19:28","guid":{"rendered":"https:\/\/sbunker.org\/?p=4909"},"modified":"2024-11-07T12:22:28","modified_gmt":"2024-11-07T10:22:28","slug":"fundi-i-kinemase-apo-kinemaja-si-fund","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/kritike\/fundi-i-kinemase-apo-kinemaja-si-fund\/","title":{"rendered":"Fundi i kinemas\u00eb apo kinemaja si fund"},"content":{"rendered":"<div class=\"news-up\"><\/div>\n<div class=\"news-down\">\n<div class=\"img-wrapper\"><\/div>\n<div class=\"news-left\">\n<p><em>Kur isha i ri, un\u00eb kam besuar n\u00eb tri gj\u00ebra:<br \/>\nn\u00eb marksiz\u00ebm, n\u00eb \u00a0fuqin\u00eb sh\u00eblbyese t\u00eb kinemas\u00eb, dhe dinamit.<br \/>\nTani un\u00eb besoj vet\u00ebm n\u00eb dinamit<\/em>.<\/p>\n<p>Sergio Leone<\/p>\n<p>&nbsp;<\/p>\n<p>R\u00ebnia e sistemeve metanarrative dhe ajo q\u00eb ndodhi m\u00eb pas shpeshher\u00eb konsiderohet si konsekuenc\u00eb e s\u00eb par\u00ebs. Zhb\u00ebrja e k\u00ebtyre metarr\u00ebfimeve nuk kishte p\u00ebr q\u00ebllim t\u00eb rikonstituonte di\u00e7a q\u00eb do t\u00eb ishte antipodi i tyre, por q\u00eb do t\u00eb ishte kritika si nj\u00eb model, e cila do ta konstituoj\u00eb narracionin partikular. Kur Lyotard-i shpalli \u2018fundin e modernes\u2019; Barthes-i shpalli \u2018vdekjen e autorit\u2019, kurse Foucault-ja shpalli \u2018vdekjen e subjektit\u2019, ishte pik\u00ebrisht kjo &#8211; q\u00eb t\u00eb zhvendoset v\u00ebmendja nga metanarracionet tek rr\u00ebfimi partikular. Madje kjo m\u00eb s\u00eb miri u pa n\u00eb let\u00ebrsi dhe kinema. K\u00ebto njihen edhe si transformimet e m\u00ebdha paradigmatike. Ky debat rreth ndryshimit t\u00eb paradigmave nuk e ka l\u00ebn\u00eb t\u00eb qet\u00eb as kineman\u00eb. Mbase \u2018vdekja e kinemas\u00eb\u2019 ka qen\u00eb e paralajm\u00ebruar dekada m\u00eb par\u00eb. Dikur regjisori i njohur gjerman Werner Herzog \u00a0mendonte se: \u201cAkademia \u00ebsht\u00eb vdekja e kinemas\u00eb. Ajo \u00ebsht\u00eb krejt e kund\u00ebrta e pasionit\u201d, mendonte ai. Mir\u00ebpo, ajo q\u00eb po paralajm\u00ebronin zhvillimet teknologjike, t\u00eb cilat po ndodhnin me hapa rapid, ishte krijuar p\u00ebrshtypja se edhe kinemas\u00eb po i vinte fundi.<\/p>\n<p>Kur Deleuze publikoi librat e tij mbi kineman\u00eb, ishte pik\u00ebrisht koha kur flitej p\u00ebr nj\u00eb kriz\u00eb t\u00eb thell\u00eb n\u00eb kinema. Librat e Deleuze p\u00ebr kineman\u00eb u b\u00ebn\u00eb p\u00ebr k\u00ebt\u00eb arsye, nj\u00eb kritik\u00eb pak a shum\u00eb latente e teorive q\u00eb kishin shpallur vdekjen e kinemas\u00eb. Kjo nuk \u00ebsht\u00eb vet\u00ebm p\u00ebr shkak se, sipas tij tipologjia-shenj\u00eb, \u00ebsht\u00eb n\u00eb parim pafund\u00ebsisht e zgjerueshme, q\u00eb do t\u00eb n\u00ebnkuptonte pashtershm\u00ebrin\u00eb e kinemas\u00eb, por edhe p\u00ebr shkak se analizat e tij mbi kineman\u00eb moderne provuan k\u00ebshtu zbulimin n\u00eb lidhje me t\u00eb ardhmen e kulturr\u00ebs audiovizuele si nj\u00eb e t\u00ebr\u00eb. Prandaj, me k\u00ebt\u00eb Deleuze rithekson dhe koncepton se krahas modernizmit ekzistojn\u00eb edhe shum\u00eb karakteristika q\u00eb kultura dixhital e viteve t\u00eb \u201990-ta pabesueshm\u00ebrisht ka popullarizuar proporcionet. Kjo dometh\u00ebn\u00eb se jolinearitete, strukturua e kristalt\u00eb e tregimit, rast\u00ebsia e bot\u00ebve reciprokisht ekskluzive, dhe roli p\u00ebrb\u00ebr\u00ebs i hapsir\u00ebs s\u00eb \u00e7fardoshme jan\u00eb komponent\u00ebt q\u00eb tanim\u00eb e rikontekstualizojn\u00eb nj\u00eb format t\u00eb ri, q\u00eb n\u00eb nj\u00ebfar\u00eb kuptimi edhe vet\u00eb filozofia e Deleuze ka p\u00ebr detyr\u00eb t\u00eb kuptuarit e kultura\u00ebs audiovizuele.<\/p>\n<p>Mir\u00ebpo p\u00ebrshtypja rreth shpalljes s\u00eb vdekjes s\u00eb kinemas\u00eb filloi t\u00eb kaloj\u00eb n\u00eb bindje at\u00ebher\u00eb kur n\u00eb shprehje erdhi digjitalizimi dhe shtrirja e internetit me p\u00ebrmasa globale; si\u00e7 do t\u00eb shprehet edhe Marshall McLuhan-i se tanim\u00eb bota \u00ebsht\u00eb nj\u00eb \u2018fshat global\u2019. Ky \u2018fshat global\u2019 do t\u00eb b\u00ebhet tem\u00eb trajtimi nga Anne Friedberg-u, e cila shpjegon sesi teknologjit\u00eb e reja digjitale e kan\u00eb ndryshuar p\u00ebrceptimin edhe p\u00ebr kineman\u00eb. Ajo shpjegon se edhepse teknologjia ka p\u00ebrmir\u00ebsuar m\u00ebnyr\u00ebn e t\u00eb b\u00ebrit film, q\u00eb ata t\u00eb jen\u00eb dhe m\u00eb t\u00eb arritsh\u00ebm, edhepse audienca shikon film, ata nuk jan\u00eb duke p\u00ebrjetuar filmin n\u00eb m\u00ebnyr\u00ebn se si ai kishte p\u00ebr q\u00ebllim. Mund\u00ebsia e shikimit t\u00eb filmit n\u00ebp\u00ebr aparate t\u00eb ndryshme digjitale, sipas Friedberg-ut, e zbeh fuqin\u00eb e imazheve, sepse ato p\u00ebsojn\u00eb ndryshime t\u00eb m\u00ebdha n\u00eb stil dhe format. Gjithashtu ajo mendon se digjitalizimi e humb p\u00ebrkushtimin dhe v\u00ebmendjen q\u00eb kinemaja k\u00ebrkon, dhe e deformon hap\u00ebsir\u00ebn po ashtu, sepse vet\u00eb shkuarja n\u00eb kinema tregon p\u00ebrkushtimin dhe si rrjedhim e shton edhe v\u00ebmendjen n\u00eb t\u00eb shikuarit e filmit. Kur shikojm\u00eb nj\u00eb film n\u00eb kinema, v\u00ebmendjen e kemi t\u00eb shtuar, sepse aty mund\u00ebsia e rip\u00ebrs\u00ebritjes se skenave t\u00eb preferuara apo heqja e atyre q\u00eb nuk na p\u00eblqejn\u00eb nuk \u00ebsht\u00eb e mundur, sikund\u00ebrse \u00ebsht\u00eb e mundur tani n\u00ebp\u00ebr aparatet e ndryshme digjitale. Gjithashtu, mund\u00ebsia e kontrollit mbi nj\u00eb film q\u00eb shikuesit i mund\u00ebsohet nga aparatet mobile e zbeh at\u00eb edhe nga ana artistike. Kjo tregon se mund\u00ebsit\u00eb dhe preferencat ekzistuese t\u00eb t\u00eb shikuarit film n\u00ebp\u00ebrmes k\u00ebtyre mjeteve digjitale e humb vler\u00ebn q\u00eb kinemaja na e ofron, por si\u00e7 shprehet edhe Anne Friedberg-u, digjitalizimi ka dhe an\u00ebn pozitive, sepse u mund\u00ebson njer\u00ebzve q\u00eb p\u00ebr shum\u00eb arsye nuk mund t\u00eb shkojn\u00eb n\u00eb kinema q\u00eb t\u00eb shikojn\u00eb filma po n\u00ebp\u00ebrmes k\u00ebtyre aparateve.<\/p>\n<p>Gjithashtu i t\u00ebr\u00eb ky fenomen ka dhe nj\u00eb shpjegim interesant nga Paolo Cherchi Usai, i cili n\u00eb librin e tij The Death of Cinema pohon se: \u201cVdekja e kinemas\u00eb \u00ebsht\u00eb kryesisht nj\u00eb fenomen mendor, i cili ndodh pavar\u00ebsisht n\u00ebse jan\u00eb apo nuk jan\u00eb faktor\u00ebt e p\u00ebrmendur &#8211; ata t\u00eb cil\u00ebt do ta mund\u00ebsojn\u00eb at\u00eb\u201d. Andaj, nisur nga ky fakt ne jemi t\u00eb prir\u00eb q\u00eb shpeshher\u00eb t\u2019i japim gjykimet tona pavar\u00ebsisht trendeve dhe realiteteve q\u00eb na rrethojn\u00eb. Kjo karakterizohet, si\u00e7 shprehet Paolo Cherchi Usai se:\u201dRezultati p\u00ebrfundimtar i vdekjes s\u00eb kinemas\u00eb \u00ebsht\u00eb themeli i nj\u00eb etike t\u00eb vizionit dhe transformimi i imazhit-model n\u00eb imazhin-moral, duke pasqyruar ngusht\u00ebsisht dhe vlerat e lidhura me aktin e shikimit\u201d. Pra, n\u00ebp\u00ebrmes k\u00ebtij moralizimi q\u00eb i b\u00ebhet kinemas\u00eb, \u00ebsht\u00eb nj\u00eb tendenc\u00eb q\u00eb t\u00eb arsyetohet edhe vdekja e saj. Mir\u00ebpo, si\u00e7 edhe thekson Paolo Cherchi Usai se: \u201cUn\u00eb nuk do t\u00eb derdh lot p\u00ebr vdekjen e kinemas\u00eb. Kjo mund t\u00eb jet\u00eb shansi i saj i par\u00eb i v\u00ebrtet\u00eb q\u00eb do t\u00eb merret seriozisht\u201d. Andaj, nga kjo n\u00ebnkuptojm\u00eb se \u2018vdekja e kinemas\u00eb\u2019, m\u00eb shum\u00eb \u00ebsht\u00eb vdekja e nj\u00eb narracioni mbi t\u00eb sesa realiteti i k\u00ebsaj vdekjeje, dhe q\u00eb kjo pastaj e rikonstituon dhe e riforcon pozicionin e saj n\u00eb shoq\u00ebri.<\/p>\n<p>&nbsp;<\/p>\n<\/div>\n<div class=\"news-right\">\n<div class=\"post\">\n<p class=\"author\">\n<\/div>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>Kur isha i ri, un\u00eb kam besuar n\u00eb tri gj\u00ebra: n\u00eb marksiz\u00ebm, n\u00eb \u00a0fuqin\u00eb sh\u00eblbyese t\u00eb kinemas\u00eb, dhe dinamit. Tani un\u00eb besoj vet\u00ebm n\u00eb dinamit. Sergio Leone &nbsp; R\u00ebnia e sistemeve metanarrative dhe ajo q\u00eb ndodhi m\u00eb pas shpeshher\u00eb konsiderohet si konsekuenc\u00eb e s\u00eb par\u00ebs. Zhb\u00ebrja e k\u00ebtyre metarr\u00ebfimeve nuk kishte p\u00ebr q\u00ebllim t\u00eb rikonstituonte [&hellip;]<\/p>","protected":false},"author":266,"featured_media":9787,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[1703,1322],"ppma_author":[733],"class_list":["post-4909","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-kinemaja","tag-kritike"],"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\/4909","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=4909"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4909\/revisions"}],"predecessor-version":[{"id":9788,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4909\/revisions\/9788"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/9787"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=4909"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=4909"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=4909"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=4909"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}