{"id":4945,"date":"2016-01-12T16:26:21","date_gmt":"2016-01-12T14:26:21","guid":{"rendered":"https:\/\/sbunker.org\/?p=4945"},"modified":"2024-12-13T16:29:43","modified_gmt":"2024-12-13T14:29:43","slug":"cinema-tornatore","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/analize\/cinema-tornatore\/","title":{"rendered":"Cinema Tornatore"},"content":{"rendered":"
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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. Duke u nisur nga kjo marr\u00ebdh\u00ebnie, n\u00eb k\u00ebt\u00eb ekskurs \u00a0paraqesim artin filmik n\u00ebn prizmin e filmografis\u00eb s\u00eb regjisorit italian, Giuseppe Tornatore. N\u00eb fakt, nuk \u00ebsht\u00eb pa q\u00ebllim kjo tem\u00eb dhe pik\u00ebrisht ky regjisor.<\/p>\n<\/div>\n

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Kamera e dashuruar n\u00eb Sicilin\u00eb<\/strong><\/p>\n

Tornatore \u00ebsht\u00eb regjisor italian, i lindur n\u00eb Bagheria t\u00eb Sicilis\u00eb, Itali. Ai me filmat e tij pa dyshim q\u00eb \u00ebsht\u00eb nj\u00eb nga ikonat e kinemas\u00eb bashk\u00ebkohore, jo vet\u00ebm t\u00eb kinemas\u00eb italiane dhe europiane, por edhe t\u00eb asaj bot\u00ebrore. Si nj\u00eb regjisor me predispozita postmoderne, por edhe si nj\u00eb inovator n\u00eb kinema, Tornatore paraqet nj\u00eb art filmik mjaft t\u00eb ve\u00e7ant\u00eb, si p\u00ebr kah skenari, skenografia, montazhi dhe, sidomos, regjia. Mir\u00ebpo, ajo \u00e7far\u00eb ne do t\u00eb paraqesim k\u00ebtu \u00ebsht\u00eb m\u00eb shum\u00eb dimensioni filozofik n\u00eb filmat e tij. N\u00eb filmografin\u00eb e tij ka shum\u00eb filozofi. Aty mund t\u00eb gjesh estetik\u00eb, metakinema, psikologji, psikanaliz\u00eb, dilema morale etj. Gjithashtu, \u00ebsht\u00eb me r\u00ebnd\u00ebsi t\u00eb ceket q\u00eb n\u00eb fillim se Tornatore thuajse shumic\u00ebn e tematikave filmike i ka t\u00eb vendosura n\u00eb vendlindjen e tij, Sicili. Kjo me gjas\u00eb mund t\u00eb jet\u00eb nj\u00eb \u201cpamund\u00ebsi\u201d e shk\u00ebputjes nga f\u00ebmij\u00ebria e tij. N\u00ebp\u00ebrmjet filmave t\u00eb tij, ai mundohet t\u00eb paraqes\u00eb dashurin\u00eb q\u00eb njer\u00ebzit e kan\u00eb me vendlindjen edhe kur ajo \u00ebsht\u00eb burim i mjerimit. Dashuria, vuajtja, mllefi, g\u00ebzimi n\u00eb filmat e Tornatore-s marrin edhe m\u00eb shum\u00eb kuptim n\u00ebn tingujt e muzik\u00ebs nga ikona e muzik\u00ebs filmike, Ennio Morricone.<\/p>\n

N\u00ebse do ta v\u00ebrejm\u00eb me m\u00eb v\u00ebmendje filmin Nuovo Cinema Paradiso (me k\u00ebt\u00eb film mori edhe \u00e7mimin Oskar), e kuptojm\u00eb se Toto (protagonisti i filmit) \u00ebsht\u00eb vet\u00eb Tornatore. Kinemaja, fshati, njer\u00ebzit e varf\u00ebr, rrug\u00ebt, nd\u00ebrtesat, n\u00eb p\u00ebrgjith\u00ebsi k\u00ebto jan\u00eb elemente t\u00eb cilat kan\u00eb ndikuar n\u00eb artin e tij. Po ashtu, Tornatore beson q\u00eb Sicilia n\u00eb shum\u00eb aspekte \u00ebsht\u00eb vendi ideal i t\u00eb b\u00ebrit film. Shkrimtari italian, Leonardo Sciascia, nj\u00eb adhurues i filmave t\u00eb Tornatores, shprehet k\u00ebshtu p\u00ebr Sicilin\u00eb: \u201cSicilia \u00ebsht\u00eb nj\u00eb vend me t\u00eb cilin kamera menj\u00ebher\u00eb bie n\u00eb dashuri\u201d. Prandaj, kjo dashuri nuk \u00ebsht\u00eb e lidhur vet\u00eb mes kamer\u00ebs dhe Sicilis\u00eb, por kjo dashuri \u00ebsht\u00eb e theksuar edhe te Tornatore n\u00eb aspektin artistik. Te filmat e tij Nuovo Cinema Paradiso (1988) dhe Malena (2000), menj\u00ebher\u00eb do ta v\u00ebrejm\u00eb nj\u00eb Tornatore q\u00eb ka shum\u00eb fines\u00eb n\u00eb vendosjen e k\u00ebsaj dashurie n\u00eb film.<\/p>\n

Gjithashtu nj\u00eb dimenson tjet\u00ebr q\u00eb theksohet thuajse n\u00ebp\u00ebr shumic\u00ebn e filmave t\u00eb tij, \u00ebsht\u00eb edhe skenografia teatrale, q\u00eb sigurisht se i rri me shum\u00eb eleganc\u00eb konstruksionit arkitektonik sicilian, e t\u00eb cil\u00ebn regjisori n\u00eb m\u00ebnyr\u00eb maestrale e zhvendos\u00eb n\u00eb ekran. Nuovo Cinema Paradiso, Malena, Una pura formalita (ky i fundit \u00ebsht\u00eb edhe filmi i preferuar i vet\u00eb regjisorit), jan\u00eb filmat t\u00eb cil\u00ebt e kan\u00eb t\u00eb p\u00ebrbrend\u00ebsuar dimensionin dhe ndjesin\u00eb e skenografis\u00eb teatrale. Prandaj mund t\u00eb konkludojm\u00eb n\u00eb k\u00ebt\u00eb aspekt se Tornatore \u00ebsht\u00eb nj\u00eb regjisor q\u00eb teatrin e ka b\u00ebr\u00eb thuajse pjes\u00eb inherente n\u00eb filmin e tij. Mir\u00ebpo, ajo \u00e7ka e b\u00ebn edhe m\u00eb t\u00eb ve\u00e7ant\u00eb dhe sigurisht nj\u00eb regjisor t\u00eb madh, nuk jan\u00eb vet\u00ebm k\u00ebto efekte q\u00eb i nd\u00ebrmend\u00ebm m\u00eb sip\u00ebr.<\/p>\n

E ve\u00e7anta n\u00ebp\u00ebr filmat e tij, p\u00ebrve\u00e7 m\u00ebnyr\u00ebs dhe metod\u00ebs s\u00eb realizimit, \u00ebsht\u00eb edhe mpreht\u00ebsia dhe thell\u00ebsia e temave t\u00eb cilat i trajton ai. Prekja e fenomeneve t\u00eb ndryshme shoq\u00ebrore, zb\u00ebrthimi apo trajtimi i postulateve morale n\u00eb nj\u00eb priz\u00ebm t\u00ebrsisht filozofik q\u00eb e shp\u00ebrfaq n\u00eb filmografin\u00eb e tij, jan\u00eb fundamenti i artit q\u00eb ai na e prezanton me aq fines\u00eb. Tornatore \u00ebsht\u00eb regjisori q\u00eb nuk gjykon n\u00ebp\u00ebr filmat e tij, madje ai shprehet k\u00ebshtu n\u00eb nj\u00eb intervis\u00eb: \u201cUn\u00eb i b\u00ebj filmat, nuk marr mundimin t\u00eb gjykoj mbi ta\u201d. N\u00ebp\u00ebrmjet provokimit perfid, ai tenton t\u00eb ngre dilema, t\u00eb vendos\u00eb shum\u00ebsi t\u00eb perspektivave p\u00ebr fenomene t\u00eb caktuara dhe t\u00eb hap\u00eb mund\u00ebsi p\u00ebr rezonim mbi k\u00ebto fenomene. Te filmat e tij kemi t\u00eb shp\u00ebrfaqur dimensionin moral, si nj\u00eb konvencion shoq\u00ebror mjaft rigjid. P. sh., tek filmi Malena \u00ebsht\u00eb i paraqitur n\u00eb m\u00ebnyr\u00eb lucide ambiguiteti n\u00eb mes t\u00eb k\u00ebtij konvencioni moral, si format i kanonizuar shoq\u00ebror dhe \u00e7lirimit t\u00eb zorsh\u00ebm prej tij. K\u00ebt\u00eb moral t\u00eb mbuluar me vellon e s\u00eb mir\u00ebs, Tornatore e nxjerr n\u00eb sip\u00ebrfaqe dhe e tregon realitetin se ky moral i kanonizuar nga shoq\u00ebria \u00ebsht\u00eb n\u00eb fak nj\u00eb fshehje e impulseve dhe k\u00ebnaq\u00ebsive t\u00eb ndrydhura seksuale. N\u00eb k\u00ebt\u00eb pik\u00eb ai n\u00eb film \u00ebsht\u00eb nj\u00eblloj sikur n\u00eb veprat letrare t\u00eb Nabokovit. Nj\u00eb aspekt tjet\u00ebr \u00ebsht\u00eb edhe krijimi i metakinemas\u00eb n\u00eb film. N\u00eb filmin Nuovo Cinema Paradiso, ai krijon metakinema. P\u00ebr k\u00ebt\u00eb ai shprehet k\u00ebshtu: \u201cKur i kam realizuar k\u00ebta filma, nuk e kam menduar kurr\u00eb se do t\u00eb b\u00ebja metakinema. Kur realizova Nuova Cinema Paradiso un\u00eb e kisha t\u00eb qart\u00eb se ky element do t\u00eb ishte i pranish\u00ebm, dhe n\u00eb t\u00eb tjer\u00ebt erdhi natyrsh\u00ebm. Kur student\u00ebt e mi m\u00eb pyesin se pse patjet\u00ebr duhet q\u00eb nj\u00eb sken\u00eb t\u00eb jet\u00eb ambientuar n\u00eb nj\u00eb sall\u00eb kinemaje, u them q\u00eb un\u00eb e njoh aq shum\u00eb jet\u00ebn e sall\u00ebs kinematografike sa do t\u00eb vazhdoja pa fund. Por edhe n\u00eb filmat e mi q\u00eb nuk jan\u00eb ambientuar n\u00eb Sicili, e gjen nj\u00eb sall\u00eb kinemaje, sepse ai \u00ebsht\u00eb vendi m\u00eb i r\u00ebnd\u00ebsish\u00ebm i jet\u00ebs sime. Personazhet e mia q\u00ebndrojn\u00eb sikurse dhe nj\u00eb \u00e7ast n\u00eb k\u00ebt\u00eb sall\u00eb\u201d.<\/p>\n

Me k\u00ebt\u00eb Tornatore insiston t\u00eb na rr\u00ebfej\u00eb fuqin\u00eb q\u00eb ka kinemaja n\u00eb kultur\u00eb. Gjithashtu karakteristik\u00eb tjet\u00ebr te ky film \u00ebsht\u00eb edhe momenti kur duhet t\u00eb priten shiritat filmik\u00eb pik\u00ebrisht te sekuencat erotike, dhe krejt kjo n\u00eb em\u00ebr t\u00eb moralit. N\u00eb em\u00ebr t\u00eb asaj se shoq\u00ebria nuk duhet t\u00eb infektohet me skena t\u00eb tilla t\u00eb pamoralshme. Me k\u00ebto prerje t\u00eb k\u00ebtyre sekuencave filmike, Tornatore p\u00ebrpiqet t\u00eb na i servoj\u00eb n\u00eb form\u00eb artistike k\u00ebto momente, duke na i paraqitur si prerje t\u00eb sekuencave t\u00eb zhvillimit ton\u00eb normal. K\u00ebto t\u00eb \u201cv\u00ebrteta\u201d morale q\u00eb shoq\u00ebria i mbron dhe i konservon me aq fanatiz\u00ebm, ai i v\u00eb para \u201cgjyqit\u201d t\u00eb artit. N\u00eb k\u00ebt\u00eb pik\u00eb, Tornatore pu\u00e7et me Nietzsche-n, sepse ky i fundit mendon se \u201ct\u00eb v\u00ebrtetat nuk i rezistojn\u00eb fuqis\u00eb s\u00eb artit\u201d.<\/p>\n

Imoraliteti i moralit<\/strong><\/p>\n

Gjithashtu edhe me filmin Malena, Tornatore e dekonstrukton n\u00eb thelb k\u00ebt\u00eb rend moral i cili \u00ebsht\u00eb i konstruktuar nga shoq\u00ebria, dhe q\u00eb n\u00eb t\u00eb v\u00ebrtet\u00eb, \u00ebsht\u00eb nj\u00eb konstruksion i rrejsh\u00ebm, nj\u00eb mbrojt\u00ebs i kinse nj\u00eb shoq\u00ebrie kulturalisht t\u00eb sh\u00ebndosh\u00eb. Mir\u00ebpo, q\u00eb n\u00eb rastin e par\u00eb, personazhet n\u00eb film bien pre e impulseve t\u00eb ndrydhura seksuale q\u00eb krijojn\u00eb lloj-lloj fantazirash n\u00eb kokat e tyre. Mjafton vet\u00ebm nj\u00eb ecejake e thjesht\u00eb dhe n\u00eb dukje e pafajshme e Malen\u00ebs (Monica Bellucci), n\u00ebp\u00ebr rrug\u00ebt e fshatit dhe njer\u00ebzit t\u00eb zhvishen nga petku moral ku kishin futur kok\u00ebn. K\u00ebtu Tornatore e nxjerr\u00eb n\u00eb pah t\u00eb pavet\u00ebdijshmen q\u00eb njer\u00ebzit e kishin mbuluar me moral. Ky \u00ebsht\u00eb edhe momenti kur ne biem \u2018pre\u2019 e impulseve tona. Pra, vendosja me aq shum\u00eb fines\u00eb e k\u00ebtyre skenave erotike jan\u00eb tregusi m\u00eb i qart\u00eb se \u00e7far\u00eb nuk duam t\u00eb jemi. Sipas Tornatores ne ikim nga vet\u00ebvetja duke i ndrydhur impulset tona, q\u00eb n\u2019fakt edhe Nietzsche mendon se ato jan\u00eb vet\u00eb natyra jon\u00eb. Ikim nga natyra jon\u00eb e v\u00ebrtet\u00eb vet\u00ebm dhe vet\u00ebm q\u00eb t\u2019i mbesim besnik grupit. Tornatore insiston q\u00eb ta paraqes k\u00ebt\u00eb ikje q\u00eb ne b\u00ebjm\u00eb dhe nj\u00ebkoh\u00ebsisht mundohet t\u00eb na tregoj se ne duhet t\u00eb dalim mbi sip\u00ebrfaqe, ta ndalim k\u00ebt\u00eb ankth dhe t\u00eb tregohemi \u00e7far\u00eb jemi dhe mos t\u2019na vij\u00eb keq p\u00ebr k\u00ebt\u00eb. T\u2019i bindemi vetvet\u00ebs ose th\u00ebn\u00eb m\u00eb drejt\u00ebp\u00ebrdrejt, t\u2019b\u00ebhemi ajo \u00e7far\u00eb jemi dhe jo ajo q\u00eb do t\u00eb d\u00ebshironim t\u00eb ishim, k\u00ebt\u00eb d\u00ebshiron t\u00eb na kumtoj\u00eb regjisori.<\/p>\n

(\u00c7)njer\u00ebzor tep\u00ebr (\u00e7)njer\u00ebzor<\/strong><\/p>\n

N\u00eb filmin Baaria, Tornatore me nj\u00eb m\u00ebnyr\u00eb t\u00eb realizimit tipik postmodern, e shp\u00ebrfaq kritik\u00ebn e tij ndaj ideologjive t\u00eb ndryshme, duke i v\u00ebn\u00eb personazhet n\u00eb nj\u00eb loj\u00eb thuajse absurde. N\u00eb k\u00ebt\u00eb film regjisori d\u00ebshiron t\u00eb na jap\u00eb nj\u00eb pasqyr\u00eb vizuele n\u00eb lidhje me at\u00eb se \u00e7far\u00eb zvetnimesh karakteriale krijojn\u00eb ideologjit\u00eb e caktuara te njer\u00ebzit. Ai n\u00eb k\u00ebt\u00eb film mundohet ta rikthej\u00eb n\u00eb kujtes\u00eb koh\u00ebn e shkuar, e cila ishte mjaft e brisht\u00eb. Ndikimet e thella q\u00eb fashizmi, komunizmi dhe ideologjit\u00eb e ndryshme kan\u00eb edhe te shtresat m\u00eb t\u00eb varfra t\u00eb shoq\u00ebris\u00eb. \u00c7rregullimet q\u00eb krijojn\u00eb k\u00ebto ideologji n\u00eb kohezionin social dhe indiferenc\u00ebn q\u00eb krijojn\u00eb tek individi. K\u00ebt\u00eb ndjesi shum\u00eb mir\u00eb e p\u00ebrshkruan edhe shkrimtari austriak Stefan Zweig, i cili mendonte se ideologjit\u00eb e shp\u00ebrfaqin an\u00ebn \u00e7njer\u00ebzore dhe e shkat\u00ebrrojn\u00eb njeriun n\u00eb thelb n\u00ebp\u00ebrmjet proklamimeve m\u00eb t\u00eb larta humane. Edhe Tornatore te Baaria vizuelizon k\u00ebt\u00eb shkat\u00ebrrim karakterial q\u00eb ideologjit\u00eb ushtrojn\u00eb n\u00eb personalitetin njer\u00ebzor. Ai po ashtu k\u00ebt\u00eb film e vendos n\u00eb skena t\u00eb atilla q\u00eb nuk kan\u00eb nj\u00eb koherenc\u00eb nj\u00ebra me tjetr\u00ebn, cil\u00ebsi tipike postmoderne e t\u00eb b\u00ebrit art.<\/p>\n

Frika nga vetja<\/strong><\/p>\n

Si\u00e7 dihet, filmat e Tornatores nuk kan\u00eb ndonj\u00eb lidhje mes vete. Ai \u00e7do her\u00eb sjell\u00eb di\u00e7ka ndryshe. Po ashtu krejt\u00ebsisht ndryshe \u00ebsht\u00eb edhe filmi i tij Una pura formalita. Edhe ky \u00ebsht\u00eb nj\u00eb film tipik tornatorian, ku filmi ka nj\u00eb skenar mjaft t\u00eb ngjeshur (dihet mir\u00ebfilli q\u00eb shumica e filmave q\u00eb realizohen sot kan\u00eb fare pak dialog apo tekst) dhe \u00ebsht\u00eb i zhvilluar thuajse vet\u00ebm n\u00eb nj\u00eb sken\u00eb. Ajo \u00e7ka k\u00ebt\u00eb film e b\u00ebn\u00eb t\u00eb ve\u00e7ant\u00eb, p\u00ebrve\u00e7 skenografis\u00eb tipike teatrale, \u00ebsht\u00eb gjithashtu edhe tema e cila zhvillohet p\u00ebrgjat gjith\u00eb k\u00ebtij filmi. I vendosur n\u00eb nj\u00eb zyre hetuesie, dialogu mjaft i ngjeshur n\u00eb mes t\u00eb Inspektorit, t\u00eb cilin e luan Roman Polanski dhe shkrimtarit Onoff (n\u00eb k\u00ebt\u00eb rast si i dyshuar), i luajtur nga Gerard Depardieu, \u00ebsht\u00eb t\u00ebrsisht me predispozita kafkiane. I gjendur n\u00eb nj\u00eb fshat t\u00eb humbur t\u00eb Franc\u00ebs, personazhi Onoff \u00ebsht\u00eb duke ikur (nga kush nuk dihet) n\u00eb nj\u00eb nat\u00eb me shi dhe furtun\u00eb dhe p\u00ebrnj\u00ebher\u00eb ndeshet n\u00eb nj\u00eb patrull\u00eb policore, q\u00eb edhe kjo del nga hi\u00e7i. Me ta ndalur policia, Onoff-it i k\u00ebrkojn\u00eb dokumentet e identifikimit, t\u00eb cilat i kan\u00eb humbur (delikuenti nuk ka identitet, sepse identiteti i tij \u00ebsht\u00eb delikuenca) dhe p\u00ebr k\u00ebt\u00eb e marrin p\u00ebr \u201cnj\u00eb formalitet t\u00eb thjesht\u00eb\u201d n\u00eb komisariat. Dhe ajo \u00e7ka \u00ebsht\u00eb karakteristike k\u00ebtu, \u00ebsht\u00eb se Tornatore t\u00ebr\u00eb k\u00ebt\u00eb dialog – marrje n\u00eb pyetje, e zhvendos\u00eb n\u00eb \u201cnj\u00eb formalitet t\u00eb thjesht\u00eb\u201d, dhe mjaft t\u00eb thell\u00eb filozofik. Onoff i gjendur para Inspektorit si i dyshuar (para pushtetit secili \u00ebsht\u00eb i dyshuar potencial), pavar\u00ebsisht se ai nuk e dinte \u00e7far\u00eb krimi kishte b\u00ebr\u00eb, \u00ebsht\u00eb thuajse n\u00eb pozit\u00eb t\u00eb nj\u00ebjt\u00eb me Jozef K-n\u00eb, te Procesi i Kafk\u00ebs. Problemet e shfaqura me kujtes\u00ebn, ku Onoff-it nuk i kujtohet asgj\u00eb nga dit\u00ebt e shkuara, madje nuk i kujtohen as librat e tij t\u00eb cilat i kishte shkruar vet\u00eb (Onoff ishte shkrimtar i njohur) dhe prej t\u00eb cil\u00ebve i citonte pasazhe t\u00eb t\u00ebra Inspektori, krijon nj\u00eb situate paradoksale dhe pushteti. Paradoksale, sepse si ka mund\u00ebsi q\u00eb nj\u00eb shkrimtar t\u00eb mos i kujtohet asgj\u00eb nga librat e tij dhe p\u00ebr m\u00eb tep\u00ebr si ka mund\u00ebsi q\u00eb mos t\u2019i kujtohet p\u00ebr nj\u00eb nat\u00eb m\u00eb her\u00ebt se \u00e7far\u00eb kishte ndodhur. Pushteti, sepse edhe p\u00ebrkund\u00ebr q\u00eb ne nuk mund t\u00eb jemi n\u00eb gjendje t\u2019i sjellim nd\u00ebrmend veprimet tona, pushteti \u00ebsht\u00eb \u00e7dokund dhe di gjith\u00e7ka. N\u00eb t\u00ebr\u00eb k\u00ebt\u00eb ngjarje, Tornatore insiston t\u00eb na intrigoj\u00eb, sepse ai tenton t\u00eb na vendos\u00eb n\u00eb situata t\u00eb atilla ku ne shpesh kemi nevoj\u00eb, ose mund ta rigjejm\u00eb vet\u00ebn n\u00ebp\u00ebrmjet tjetrit. Dometh\u00ebn\u00eb, p\u00ebr realizimin ton\u00eb na duhet dikush q\u00eb n\u00eb shikim t\u00eb par\u00eb na duket q\u00eb \u00ebsht\u00eb ndryshe nga ne. Me k\u00ebt\u00eb film Tornatore i vendos limitet dhe hap\u00ebsirat psikologjiike momentale manovruese q\u00eb njeriu mund t\u2019i ket\u00eb n\u00eb veprimtarin\u00eb e tij. Ai p\u00ebrmes personazhit Onoff insiston q\u00eb t\u00eb na orientoj\u00eb n\u00eb drejtim t\u00eb vetvetes. Sepse, si\u00e7 shprehet Nietzsche: \u201c\u00c7do njeri \u00ebsht\u00eb shum\u00eb larg vetvetes\u201d. Dhe p\u00ebr k\u00ebt\u00eb n\u00eb nj\u00ebfar\u00eb m\u00ebnyr\u00eb tjetri nuk duhet par\u00eb si dikush q\u00eb na rrezikon, por n\u00eb k\u00ebt\u00eb rast \u2018tjetri\u2019 \u00ebsht\u00eb \u2018un\u00eb\u2019, jo n\u00eb kuptim figurativ, por p\u00ebrmbajt\u00ebsor. Vetja q\u00eb e njohim vet\u00ebm n\u00eb raport me vetveten. Si\u00e7 shprehet, Nietzsche: \u201cdebati m\u00eb i v\u00ebshtir\u00eb i njeriut \u00ebsht\u00eb debati me vetveten\u201d. Dhe k\u00ebt\u00eb sikur na e rekomandon Tornatore – t\u00eb ulemi dhe t\u00eb debatojm\u00eb me at\u00eb q\u00eb d\u00ebshirojm\u00eb q\u00eb \u00e7do her\u00eb ta kemi sa m\u00eb larg, por q\u00eb realisht jeton brenda nesh.<\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

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. Duke u nisur nga kjo marr\u00ebdh\u00ebnie, n\u00eb k\u00ebt\u00eb ekskurs \u00a0paraqesim artin filmik n\u00ebn prizmin e filmografis\u00eb s\u00eb regjisorit italian, Giuseppe Tornatore. N\u00eb fakt, nuk \u00ebsht\u00eb […]<\/p>","protected":false},"author":266,"featured_media":11100,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13],"tags":[1703,1905],"ppma_author":[733],"class_list":["post-4945","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-analize","tag-kinemaja","tag-kinematografia"],"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\/4945","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=4945"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4945\/revisions"}],"predecessor-version":[{"id":11101,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4945\/revisions\/11101"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/11100"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=4945"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=4945"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=4945"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=4945"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}