{"id":5345,"date":"2020-02-22T14:27:42","date_gmt":"2020-02-22T12:27:42","guid":{"rendered":"https:\/\/sbunker.org\/?p=5345"},"modified":"2024-11-04T14:29:53","modified_gmt":"2024-11-04T12:29:53","slug":"shpia-e-ages-filmi-i-gruas-fiton-aswan-international-women-film-festival","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/kritike\/shpia-e-ages-filmi-i-gruas-fiton-aswan-international-women-film-festival\/","title":{"rendered":"Shpia e Ag\u00ebs: filmi i gruas fiton Aswan International Women Film Festival"},"content":{"rendered":"
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Nuk ka asgj\u00eb lidhur me t\u00eb b\u00ebrin e nj\u00eb filmi q\u00eb nj\u00eb grua nuk e b\u00ebn dot aq leht\u00eb sa nj\u00eb burr\u00eb, dhe nuk ka asnj\u00eb arsye pse ajo nuk mund t\u00eb zot\u00ebroj\u00eb plot\u00ebsisht \u00e7do teknik\u00eb t\u00eb k\u00ebtij\u00a0 arti\u2019<\/em><\/p>\n

(Alice Guy Blache, 1.7.1873 \u2013 24.3.1968)<\/p>\n

\u2018E fituam Aswanin\u2019 postoi n\u00eb faqja e saj personale n\u00eb Facebook regjizorja e mir\u00ebnjohur nga Kosova Lendita Zeqiraj, nj\u00eb artiste e cila ka marr\u00eb pjes\u00eb n\u00eb qindra festivale filmash, e cila \u00ebsht\u00eb \u00e7muar si Kineastja komb\u00ebtare e vitit 2014, dhe vazhdon krijimtarin\u00eb e saj deri sot me filmin e saj t\u00eb fundit Shpia e Ag\u00ebs (2019). Filmi sapo u dekorua me 4 \u00e7mime nga festivali Aswan International Women Film Festival: Filmi m\u00eb i mir\u00eb, Regjizorja m\u00eb e mir\u00eb (Lendita Zeqiraj), Aktorja m\u00eb e mir\u00eb (Rozafa \u00c7elaj) dhe \u00c7mimin nga Asociacioni Egjiptian i kritik\u00ebve t\u00eb filmit. Kjo fitore vjen n\u00eb nj\u00eb dit\u00eb t\u00eb ve\u00e7ant\u00eb p\u00ebr Kosov\u00ebn \u2013 dit\u00ebn e pavar\u00ebsis\u00eb \u2013 dhe kshu i dha dit\u00ebs nj\u00eb akoma arsye p\u00ebr t\u00eb festuar.<\/p>\n

Disa dekada m\u00eb par\u00eb teoricienja e filmit Molly Haskell me keqardhje lamentoi faktin se ekziston nja kategori e ve\u00e7ant\u00eb e filmit e quajtur \u2018filmi i gruas\u2019, megjith\u00ebse teoriciene t\u00eb tjera e gjykojn\u00eb t\u00eb dobishme t\u00eb ekzistoj\u00eb nj\u00eb kategori e till\u00eb filmash e cila lejon nj\u00eb hap\u00ebsir\u00eb p\u00ebr portretizimin e grave dhe t\u00eb shqet\u00ebsimeve dhe \u00e7\u00ebshtjeve t\u00eb tyre meq\u00eb industria e filmit ka q\u00ebn\u00eb aq shum\u00eb e drejtuar nga burrat dhe e orientuar rreth tyre sa madje harroi regjizoren e par\u00eb n\u00eb bot\u00eb q\u00eb p\u00ebrdori filmin p\u00ebr t\u00eb treguar nj\u00eb histori (filmi si tregim), Alice Guy Blache[1]<\/a>. Ajo \u00ebsht\u00eb shembulli i par\u00eb dhe m\u00eb i p\u00ebrsosur q\u00eb demonstron se, n\u00eb kund\u00ebrshtim me at\u00eb q\u00eb librat e historise t\u00eb filmit na kan\u00eb m\u00ebsuar deri tani, grat\u00eb kan\u00eb ekzistuar n\u00eb industrin\u00eb e filmit p\u00ebr shum\u00eb koh\u00eb dhe e kan\u00eb formuar at\u00eb q\u00eb n\u00eb momentin e par\u00eb, dhe megjithat\u00eb n\u00eb rastet e shumta ato jan\u00eb p\u00ebrjashtuar nga kjo histori p\u00ebr shkak t\u00eb gjinis\u00eb s\u00eb tyre. Pra, n\u00ebse ka nj\u00eb m\u00ebsim p\u00ebr tu m\u00ebsuar nga shembulli i saj \u00ebsht\u00eb se, n\u00ebse tani m\u00eb jemi n\u00eb dijeni p\u00ebr faktin se kontributi i gjat\u00eb i grave n\u00eb artin e kinemas\u00eb \u00ebsht\u00eb l\u00ebn\u00eb pas dore dhe \u00ebsht\u00eb konsideruar i par\u00ebnd\u00ebsish\u00ebm, \u00ebsht\u00eb e nevojshme jo vet\u00ebm ta korrigjojm\u00eb k\u00ebt\u00eb g\u00ebnjesht\u00ebr historike por t\u00eb b\u00ebjm\u00eb \u00e7\u2019\u00ebsht\u00eb e mundur q\u00eb historia mos p\u00ebrs\u00ebritet m\u00eb dhe t\u00eb drejtojm\u00eb syt\u00eb ton\u00eb n\u00eb ekranet ku grat\u00eb ndodhen dhe portretizohen me sinqeritet.<\/p>\n

Dhe ja ku vjen Shpia e Ag\u00ebs p\u00ebr t\u00eb na p\u00ebrmendur pse filmi i gruas \u00ebsht\u00eb nj\u00eb zhan\u00ebr absolutisht i nevojitsh\u00ebm. Filmat q\u00eb i p\u00ebrkasin zhanrit t\u00eb filmit t\u00eb gruas jan\u00eb zakonisht sfidues dhe t\u00eb guximsh\u00ebm n\u00eb \u00e7\u00ebshtjet q\u00eb q\u00ebndrojn\u00eb n\u00eb thelb t\u00eb tregimit, gjithashtu jan\u00eb t\u00eb ndrysh\u00ebm n\u00eb aspektin e k\u00ebndv\u00ebshtrimit ndaj k\u00ebtyre \u00e7\u00ebshtjeve. Kan\u00eb tendenc\u00ebn t\u00eb jen\u00eb t\u00eb pam\u00ebshirsh\u00ebm dhe trondit\u00ebs n\u00eb m\u00ebnyr\u00ebn se si i trajtojn\u00eb dhe tregojn\u00eb k\u00ebto \u00e7eshtje, her\u00eb t\u00eb tjera jan\u00eb t\u00eb mpreht\u00eb dhe unik\u00eb sepse shumic\u00ebn e koh\u00ebs trajtojn\u00eb tematika t\u00eb v\u00ebshtira q\u00eb jan\u00eb objekt diskutimi dhe debati, pra jan\u00eb p\u00ebrfundimisht polemik\u00eb dhe i rezistojn\u00eb sentimentalizmit. Shpia e Ag\u00ebs \u00ebsht\u00eb t\u00eb gjitha k\u00ebto, tregon imazhe nga momente \u00a0intime midis grash, gj\u00eb e rrall\u00eb n\u00eb artin e filmit. \u00cbsht\u00eb nj\u00eb tregim bashk\u00ebkohor q\u00eb vendos grat\u00eb n\u00eb qend\u00ebr t\u00eb historis\u00eb, personazhe q\u00eb jetojn\u00eb n\u00eb skaj dhe nuk kan\u00eb ask\u00ebnd p\u00ebrve\u00e7 njera tjetr\u00ebn p\u00ebr mb\u00ebshtetje. Filmi shpreh nj\u00eb skepticiz\u00ebm serioz n\u00eb lidhje me p\u00ebrshkrimin besnik e traum\u00ebs, me dhembshuri mjaft t\u00eb ndjeshme por jo aq sa t\u00eb arrij\u00eb t\u00eb mbingarkoj\u00eb ekranin me klishe t\u00eb m\u00ebrzitshme rreth imazhit e nj\u00eb viktime. Gj\u00eb q\u00eb tregon se zonja Zeqiraj \u00ebsht\u00eb nj\u00eb regjizore me nj\u00eb perceptim t\u00eb mpreht\u00eb dhe t\u00eb sakt\u00eb, ka nj\u00eb stil vizual t\u00eb dizajnuar me kujdes dhe t\u00eb cilin e mbron, nd\u00ebrton, dhe kalon nga nj\u00eb projekt n\u00eb tjetri po me t\u00eb nj\u00ebjt\u00ebn cil\u00ebsi dhe thjesht\u00ebsi. Me nj\u00eb l\u00ebvizje nervoze t\u00eb kameras, disa t\u00eb qeshura me z\u00eb t\u00eb lart\u00eb,\u00a0 dhe nj\u00eb sekuenc\u00eb mb\u00ebrthyese n\u00eb p\u00ebrfundim t\u00eb filmit ajo na detyron t\u00eb\u00a0 rikonsiderojm\u00eb perceptimin ton\u00eb reth viktimizimit fem\u00ebror. Personazhet e filmit qeshin me t\u00eb madhe, flasin nj\u00eb gjuh\u00eb vulgare, p\u00eblqejn\u00eb seksin dhe nuk k\u00ebrkojn\u00eb falje p\u00ebr k\u00ebt\u00eb gj\u00eb, se cila mbart historin\u00eb e saj, her\u00eb p\u00ebrqafohen dhe her\u00eb grinden, por gjithmon\u00eb kan\u00eb nj\u00ebra tjetr\u00ebn n\u00eb krah dhe b\u00ebhen triumfuese se cila n\u00eb m\u00ebnyr\u00ebn e vet\u00eb. Ky \u00ebsht\u00eb nj\u00eb v\u00ebshtrim zhbirues q\u00eb shp\u00ebton nga portretizimi banal i viktimizimit dhe na jep nj\u00eb q\u00ebndrim t\u00eb fresk\u00ebt: ja tek \u00ebsht\u00eb Emira, nj\u00eb viktim\u00eb e trafikimit njer\u00ebzor, e re, plot energji dhe \u00ebnd\u00ebrra dhe d\u00ebshira, dhe shpres\u00eb. Ja tek \u00ebsht\u00eb dhe Kumria, nj\u00eb viktim\u00eb p\u00ebrdhunimi, nj\u00eb grua e fort\u00eb q\u00eb po rit f\u00ebmij\u00ebn e p\u00ebrdhunuesit ashtu si\u00e7 ka mund\u00ebsi me suportin e grave t\u00eb tjera n\u00eb shpi. Ja ku \u00ebsht\u00eb Lumja, nj\u00eb viktim\u00eb e traditave t\u00eb mod\u00ebs s\u00eb vjet\u00ebr. Dhe ja ku \u00ebsht\u00eb Cera, i cili ka historin\u00eb e tij t\u00eb dhimbshme dhe b\u00ebhet pjes\u00eb e k\u00ebtij rrethi njer\u00ebzish t\u00eb prekur nga keqb\u00ebrja. Pa koh\u00eb ose nj\u00eb vend specifik, kjo mund t\u00eb jet\u00eb historia e kujtdo, nj\u00eb histori e parezistueshme me nj\u00eb joshje bind\u00ebse q\u00eb rezulton nga fakti se nuk p\u00ebrpiqet ta tep\u00ebroj\u00eb n\u00eb m\u00ebnyr\u00ebn e tregimit, \u00ebsht\u00eb e thjesht\u00eb \u2013 madje shum\u00eb e thjesht\u00eb dhe her\u00eb pas her\u00eb e ngadalt\u00eb. Me momente, gjeste dhe personazhe t\u00eb zakonshme Shpia e Ag\u00ebs \u00ebsht\u00eb nj\u00eb tregim po aq i guximsh\u00ebm dhe i ashp\u00ebr sa projektet e m\u00ebparshme t\u00eb regjizores.<\/p>\n

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[1]<\/a>\u00a0*[Edhe pse ka q\u00ebn\u00eb pa dyshim njeriu i par\u00eb q\u00eb p\u00ebrdori filmin p\u00ebr t\u00eb treguar nj\u00eb histori \u2013 filmi si tregim \u2013 (n\u00eb vitin 1896, para se D.W. Griffith t\u00eb prodhonte filmin e tij t\u00eb par\u00eb) Alice Guy Blache ka mbetur nj\u00eb figur\u00eb\u00a0 e fshehur si p\u00ebr historian\u00ebt ashtu edhe p\u00ebr publikun p\u00ebr dekada plot. Vet\u00ebm mendoni kaq, n\u00eb librin e tij Historia e Kinematografis\u00eb Bot\u00ebrore (1895-1945) i botuar n\u00eb 2005 Abaz T. Hozha p\u00ebrm\u00ebnd Alice si \u2018ndoshta<\/em>\u00a0e para grua regjizore\u2019 (18), e cila krijoi shoq\u00ebrin\u00eb e saj t\u00eb prodhimit, duke v\u00ebn\u00eb n\u00eb dyshim faktin se ishte e para v\u00ebrtet, pa p\u00ebrm\u00ebndur as emrin e shoq\u00ebris\u00eb s\u00eb saj, pa diskutuar faktin se ishte i pari njeri q\u00eb p\u00ebrdori filmin si mjet p\u00ebr tregimin e nj\u00eb historie. Madje ai gabon dhe me emrin e saj duke e quajtur Alice Gay n\u00eb vend t\u00eb Guy!]<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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Nuk ka asgj\u00eb lidhur me t\u00eb b\u00ebrin e nj\u00eb filmi q\u00eb nj\u00eb grua nuk e b\u00ebn dot aq leht\u00eb sa nj\u00eb burr\u00eb, dhe nuk ka asnj\u00eb arsye pse ajo nuk mund t\u00eb zot\u00ebroj\u00eb plot\u00ebsisht \u00e7do teknik\u00eb t\u00eb k\u00ebtij\u00a0 arti\u2019 (Alice Guy Blache, 1.7.1873 \u2013 24.3.1968) \u2018E fituam Aswanin\u2019 postoi n\u00eb faqja e saj personale n\u00eb […]<\/p>","protected":false},"author":414,"featured_media":9435,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[1611,1209],"ppma_author":[773],"class_list":["post-5345","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-aswan-international-women-film-festival","tag-shpia-e-ages"],"authors":[{"term_id":773,"user_id":414,"is_guest":0,"slug":"fjoralba-miraka","display_name":"Fjoralba Miraka","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/11\/Fjoralba1575446931.jpg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/11\/Fjoralba1575446931.jpg"},"user_url":"","last_name":"Miraka","first_name":"Fjoralba","description":"Fjoralba Miraka \u00ebsht\u00eb nj\u00eb studjuese e filmit t\u00eb Hollivudit n\u00eb vitet e Rilindjes (n\u00eb fund t\u00eb viteve 1960 \u2013 mesi i viteve 1970) n\u00eb Fakultetin e Medias, Gjuh\u00ebs, dhe Kultur\u00ebs t\u00eb Universitetit Roehampton n\u00eb Lond\u00ebr. Ajo mban nj\u00eb Master n\u00eb Let\u00ebrsin\u00eb dhe Kultur\u00ebn Amerikane si dhe nj\u00eb Bachelor n\u00eb Gjuh\u00ebn Angleze, t\u00eb dy dimploma nga Universiteti Aristotel i Selanikut, Greqi. N\u00eb 2021 studimi i saj The Great Shift in Hollywood Cinema: Men, Women, and Genre Revisionism of the American New Wave u botua nga sht\u00ebpia botuese Bloomsbury Academic, kurse n\u00eb 2020 kapitulli i saj Historia e Teoris\u00eb Feministe s\u00eb Filmit u botua n\u00eb Enciklopedin\u00eb e par\u00eb Nd\u00ebrkomb\u00ebtare t\u00eb Gjinis\u00eb, Medias, dhe Komunikimit nga Wiley Blackwell. N\u00eb 2019 studimi i saj Gender, Genre, and Class Politics in Barbara Loden\u2019s Wanda (1970) u botua n\u00eb portali akademic MAI: Feminism and Visual Culture (https:\/\/maifeminism.com\/gender-genre-and-class-politics-in-barbara-lodens-wanda-1970\/). Studimi i saj i par\u00eb Performing Otherness for the Monstrous Gaze: Racial and Sexual Fantasies in the Allegoric Orgies of Venus Noir and Black Swan u botua n\u00eb 2014 (https:\/\/brill.com\/view\/book\/edcoll\/9781848884076\/BP000020.xml?lang=en). Gjithashtu, ajo ka p\u00ebrkthyer n\u00eb gjuh\u00ebn angleze kujtime t\u00eb regjisor\u00ebs Xhanfize Keko dhe t\u00eb protagonist\u00ebve t\u00eb filmave Beni ec\u00ebn vet\u00eb (botuar n\u00eb 2020) dhe Mimoza Llastica (botuar n\u00eb 2021). Pasioni i saj \u00ebsht\u00eb puna dhe jeta e regjizores Xhanfize Keko. P\u00ebrve\u00e7 pun\u00ebs dhe studimeve, ajo \u00ebsht\u00eb edhe n\u00ebn\u00eb e p\u00ebrkushtuar n\u00eb dy f\u00ebmij\u00ebt t\u00eb saj (lindur n\u00eb 2019 & 2021)."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5345","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\/414"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/comments?post=5345"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5345\/revisions"}],"predecessor-version":[{"id":9436,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5345\/revisions\/9436"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/9435"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=5345"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=5345"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=5345"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=5345"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}