{"id":5392,"date":"2019-12-16T14:57:03","date_gmt":"2019-12-16T12:57:03","guid":{"rendered":"https:\/\/sbunker.org\/?p=5392"},"modified":"2024-10-25T15:00:21","modified_gmt":"2024-10-25T13:00:21","slug":"open-door-nje-leter-dashurie-per-peizazhin-shqiptar","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/kritike\/open-door-nje-leter-dashurie-per-peizazhin-shqiptar\/","title":{"rendered":"Open Door: Nj\u00eb let\u00ebr dashurie p\u00ebr peizazhin shqiptar"},"content":{"rendered":"
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Historikisht, zhanri i filmit rrugor \u2013 the road movie \u2013 gjithmon\u00eb i p\u00ebrkiste burrave. Dhe kjo sepse, midis arsyeve t\u00eb tjera q\u00eb kan\u00eb t\u00eb b\u00ebjn\u00eb me territorin e femrave dhe meshkujve n\u00eb terrenin filmik, ky \u00ebsht\u00eb nj\u00eb zhan\u00ebr i \u00e7ili burron nga zhanri klasik q\u00eb jan\u00eb n\u00eb thelb mashkullor\u00eb\u00a0 \u2013 western, gangster film, film noir. Nga produksionet e Hollivudit klasik mund t\u00eb gjejm\u00eb shembuj si <\/span>Stagecoach<\/em>\u00a0(John Ford, 1939<\/span>), The Grapes of Wrath<\/em>\u00a0(John Ford, 1940),\u00a0<\/span>You Only Live Once<\/em>\u00a0(Fritz Lang, 1937),\u00a0<\/span>It Happened One Night<\/em>\u00a0(Frank Capra, 1934), por edhe n\u00eb vitet 1970s ka shembuj plot:<\/span>\u00a0Bonnie and Clyde<\/em>\u00a0(Arthur Penn, 1969),\u00a0<\/span>Easy Rider<\/em>\u00a0(Dennis Hopper,1969),\u00a0<\/span>Butch Cassidy and the Sundance<\/em>\u00a0<\/span>Kid<\/em>\u00a0(George Roy Hill, 1969),\u00a0<\/span>Midnight Cowboy<\/em>\u00a0(John Schlesinger, 1969),\u00a0<\/span>Alice\u2019s Restaurant<\/em>\u00a0(Arthur Penn, 1969),\u00a0<\/span>The Getaway<\/em>\u00a0(Sam Peckinpah, 1972),\u00a0<\/span>Scarecrow<\/em>\u00a0(Jerry Schatzberg, 1973),<\/span>The Long Goodbye<\/em>\u00a0(1973),\u00a0<\/span>California Split<\/em>\u00a0 (1974) and\u00a0<\/span>Thieves Like Us<\/em>\u00a0(1974) i Robert Altman,\u00a0<\/span>Thunderbolt and Lightfoot<\/em>\u00a0(Michael Cimino, 1974),\u00a0<\/span>Paper Moon<\/em>\u00a0(Peter Bogdanovich, 1973). Midis k\u00ebsaj vale masive filmash ka vet\u00ebm dy filma t\u00eb cil\u00ebt v\u00ebn\u00eb gruan n\u00eb timon:\u00a0<\/span>The Rain People<\/em>\u00a0(Francis Ford Coppola, 1969) dhe\u00a0<\/span>Alice Doesn\u2019t Live Here Anymore<\/em>\u00a0(Martin Scorsese, 1974).<\/span><\/p>\n<\/div>\n

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Por filmi i Florence Papas\u00a0Open Door <\/em>nuk \u00ebsht\u00eb si asnj\u00eb nga kto filma, p\u00ebrkundrazi ai \u00ebsht\u00eb m\u00eb af\u00ebr filmit t\u00eb Barbara Loden\u00a0Wanda<\/em>, nj\u00eb film i prodhuar n\u00eb vitin1970 jasht\u00eb sistemit t\u00eb Hollivudit i cili ilustron kufizimet me t\u00eb cilat p\u00ebrballen grat\u00eb kur ato refuzojn\u00eb t\u00eb konformohen n\u00eb rolet q\u00eb shoq\u00ebria rezervon p\u00ebr to (p\u00ebr m\u00eb shum\u00eb mbi filmin\u00a0Wanda<\/em>\u00a0klikoni\u00a0k\u00ebtu<\/a>). Sidoqoft\u00eb, megjith\u00ebse\u00a0Wanda<\/em>\u00a0\u00ebsht\u00eb nj\u00eb film krejt\u00ebsisht pessimist,\u00a0Open Door<\/em>\u00a0p\u00ebrfundimisht na l\u00eb me t\u00eb gjitha pik\u00ebpyetjet rreth shoq\u00ebrive tona t\u00eb hapura dhe na ngacmon p\u00ebr t\u2019u dh\u00ebn\u00eb nj\u00eb p\u00ebrgjigje edhe pse nuk \u00ebsht\u00eb e leht\u00eb.<\/p>\n

Open Door<\/em>\u00a0\u00ebsht\u00eb nj\u00eb road movie i cili tregon nj\u00eb histori t\u00eb thjesht\u00eb por me fronte t\u00eb shumta dhe problematika t\u00eb r\u00ebnda. Q\u00eb nga momentet e para deri n\u00eb skena p\u00ebrfundimtre, filmi krijon nj\u00eb rrjet\u00eb tematikash dhe i shfaq ato nj\u00ebr\u00ebn pas tjetr\u00ebs p\u00ebr koh\u00ebzgjatjen e tij, gjithmon\u00eb duke sulmuar insitucionin e Familjes \u2013 nj\u00eb nga insitucionet m\u00eb t\u00eb r\u00ebnd\u00ebsish\u00ebm n\u00eb shoq\u00ebrin\u00eb shqiptare. N\u00eb pamje t\u00eb par\u00eb filmi b\u00ebn fjal\u00eb p\u00ebr dy motra q\u00eb fillojn\u00eb nj\u00eb udh\u00ebtim p\u00ebr t\u00eb shkuar tek i Ati p\u00ebr p\u00ebrvjetorin e vdekjes s\u00eb n\u00ebn\u00ebs s\u00eb tyre \u2013 gjat\u00eb rrug\u00ebs po konsiderojn\u00eb t\u2019i prezantojn\u00eb atij nj\u00eb bashk\u00ebshort p\u00ebr motr\u00ebn e vog\u00ebl, Elma, e cila \u00ebsht\u00eb kthyer nga Italia shtat\u00ebz\u00ebn\u00eb dhe e pamartuar. Por kjo histori nuk \u00ebsht\u00eb as p\u00ebr p\u00ebrvjetorin e n\u00ebn\u00ebs s\u00eb tyre, as p\u00ebr babain e tyre tradicional. \u00cbsht\u00eb nj\u00eb histori p\u00ebr gjendjen e v\u00ebshtir\u00eb t\u00eb grave te kjo shoq\u00ebri thell\u00ebsisht tradicionale dhe k\u00ebshtu na jep dy protagoniste t\u00eb p\u00ebrballuara me rendin shoq\u00ebror por edhe me pasojat e zgjedhjeve t\u00eb tyre q\u00eb rrjedhin pik\u00ebrisht nga ky rend shoq\u00ebror i cili \u00ebsht\u00eb armiq\u00ebsor ndaj grave.<\/p>\n

Padyshim tema m\u00eb e spikatur q\u00eb filmi komunikon \u00ebsht\u00eb ajo e Shqip\u00ebris\u00eb si nj\u00eb shoq\u00ebri ende rrept\u00ebsisht patriarkale. Si n\u00eb t\u00eb gjitha shoq\u00ebrit\u00eb q\u00eb karakterizohen si patriarkale ashtu edhe n\u00eb vendin ton\u00eb figura q\u00eb p\u00ebrfshin rendin patriarkal \u00ebsht\u00eb figura e Atit. Ndaj motra e madhe Rudina vazhdimisht i p\u00ebrgjigjet Elmas se ajo i bindet atij sepse ai \u00ebsht\u00eb babai i tyre \u2013 pra nuk ka se si t\u00eb jet\u00eb ndryshe. \u00cbsht\u00eb pika kryesore rreth s\u00eb cil\u00ebs rrjedhin edhe problematikat e tjera me t\u00eb cilat filmi p\u00ebrballohet: n\u00ebna beqare, aborti, t\u00eb drejtat e klas\u00ebs pun\u00ebtore (dhe zakonisht n\u00eb k\u00ebto lloj shoq\u00ebrish grat\u00eb u p\u00ebrkasin klas\u00ebs pun\u00ebtore dhe sigurisht t\u00eb drejtat e tyre nuk mbrohen n\u00eb shumic\u00ebn e rasteve).<\/p>\n

Por duhet t\u00eb shohim p\u00ebrtej k\u00ebsaj teme q\u00ebndrore t\u00eb Shqip\u00ebris\u00eb si nj\u00eb vend ende tradicional, dhe t\u00eb fokusohemi edhe tek temat e tjera p\u00ebr t\u00eb cilat filmi b\u00ebn fjal\u00eb. Emigracioni \u00ebsht\u00eb gjithashtu nj\u00eb ide e r\u00ebnd\u00ebsishme. Motra e vog\u00ebl, Elma, \u00ebsht\u00eb nj\u00eb person i rri q\u00eb jeton n\u00eb Itali, bashk\u00ebshorti i protagonistes Rudina punon n\u00eb Greqi dhe kthehet n\u00eb familja e tij nj\u00eb her\u00eb n\u00eb vit, recepsionisti i hotelit ku dy motrat q\u00ebndrojn\u00eb p\u00ebr nj\u00eb nat\u00eb na tregon se ka 5 vajza, por vet\u00ebm dy nga to jetojn\u00eb n\u00eb Shqip\u00ebri. Emigracioni \u00ebsht\u00eb nj\u00eb gjemb i madh n\u00eb historin\u00eb e kombit ton\u00eb, nj\u00eb akt kolektiv me pasoja individuale nj\u00eb prej t\u00eb cilave \u00ebsht\u00eb shk\u00ebputja e jet\u00ebs familjare si\u00e7 na tregon shembulli i Rudin\u00ebs. N\u00ebse nj\u00eb abort dhe nj\u00eb\u00a0 shtat\u00ebzani jasht\u00eb martese parandalon krijimin e nj\u00eb nj\u00ebsie familjare, emigracioni e prish at\u00eb. Sekuenca p\u00ebrfundimtare e filmit tregon Rudin\u00ebn n\u00eb udh\u00ebtim n\u00eb makin\u00ebn e saj me t\u00eb birin e saj dhe nj\u00eb person i cili n\u00ebnkuptohet se \u00ebsht\u00eb ai q\u00eb ajo ka dashur n\u00eb t\u00eb v\u00ebrtet\u00eb kur ishte e re. Momentalisht imazhi i familjes \u00ebsht\u00eb restauruar \u2013 n\u00eb nj\u00eb m\u00ebnyr\u00eb t\u00eb ngjashme me sekuenc\u00ebn e fundit t\u00eb filmit\u00a0The Birds<\/em>\u00a0(1963) nga Alfred Hitchcock \u2013 por shprehjet e fytyr\u00ebs s\u00eb protagonist\u00ebve, heshtja gjat\u00eb gjith\u00eb sken\u00ebs dhe udh\u00ebtimi drejt t\u00eb panjohur\u00ebs sjellin dyshim p\u00ebr k\u00ebt\u00eb restaurim (n\u00eb nj\u00eb m\u00ebnyr\u00eb t\u00eb ngjashme me sekuenc\u00ebn e fundit t\u00eb filmit\u00a0The Graduate<\/em>\u00a0(1967) nga Mike Nicholls).<\/p>\n

Nj\u00eb aspekt tjet\u00ebr i r\u00ebnd\u00ebsish\u00ebm dhe shum\u00eb interesant \u00ebsht\u00eb m\u00ebnyra sesi filmi nd\u00ebrton marr\u00ebdh\u00ebniet midis dy motrave n\u00eb m\u00ebnyr\u00eb q\u00eb sa m\u00eb shum\u00eb ato i afrohen t\u00eb Atit, ato transformohen n\u00eb dy figura revolucionare duke u lidhur emocionalisht me nj\u00ebra tjetr\u00ebn: Elma fillimisht \u00ebsht\u00eb nj\u00eb f\u00ebmij\u00eb p\u00ebr vete, e friksuar t\u00eb konfrontoj\u00eb t\u00eb Atin si nj\u00eb adoloshente, por ngadal\u00eb ajo transformohet komplet dhe n\u00eb fund ndihet mjaft e sigurt p\u00ebr t\u2019u p\u00ebrballuar me t\u00eb me ndershm\u00ebri, si nj\u00eb i rritur. Rudina fillimisht portretizohet si nj\u00eb viktim\u00eb e rrethanave t\u00eb saj \u2013 dhe Luli Bitri ka dh\u00ebn\u00eb nj\u00eb performanc\u00eb krejt befasuese dhe t\u00eb sinqert\u00eb \u2013 por ngadal\u00eb ajo gjen kurajon dhe guximin t\u00eb ballafaqohet me realitetin e saj. Motivi i udh\u00ebtimit n\u00eb zhanri i filmit rrugor zakonisht \u00ebsht\u00eb nj\u00eb udh\u00ebtim larg nga p\u00ebrgjegj\u00ebsit\u00eb e jet\u00ebs civile\u00a0 p\u00ebr heronjt\u00eb, por p\u00ebr protagonistet e filmit\u00a0Open Door<\/em>\u00a0ky \u00ebsht\u00eb nj\u00eb udh\u00ebtim drejt vet\u00ebdijes dhe p\u00ebrgjegj\u00ebsive t\u00eb jet\u00ebs civile. Dhe gjat\u00eb k\u00ebtij udh\u00ebtimi Elma dhe Rudina arijn\u00eb t\u00eb lidhen me nj\u00ebra tjetr\u00ebn si kurr\u00eb m\u00eb par\u00eb.<\/p>\n

Motivi i udh\u00ebtimit gjithashtu \u00ebsht\u00eb m\u00ebnyra m\u00eb e p\u00ebrsosur p\u00ebr t\u00eb treguar bukurit\u00eb natyrore, dhe n\u00ebse Shqip\u00ebria njihet si nj\u00eb vend i varf\u00ebr dhe jo t\u00ebrheq\u00ebs,\u00a0Open Door<\/em>\u00a0e portretizon at\u00eb si nj\u00eb vend me bukuri t\u00eb mrekullueshme. Filmi \u00ebsht\u00eb si nj\u00eb let\u00ebr dashurie ndaj peizazheve mbresel\u00ebn\u00ebs t\u00eb Shqip\u00ebris\u00eb \u2013 n\u00eb \u00e7do kthes\u00eb gjat\u00eb rrug\u00ebs gjendet nj\u00eb perl\u00eb e fshehur q\u00eb pret t\u00eb zbulohet, dhe kamera e Florenc Papas ka nj\u00eb sy t\u00eb sinqert\u00eb p\u00ebr bukurit\u00eb e tilla.<\/p>\n

Nj\u00eb mini-intervist\u00eb me Luli Bitrin<\/u><\/p>\n

Do doja t\u00eb falenderoj protagonisten e filmit zonj\u00ebn Luli Bitri p\u00ebr koh\u00ebn q\u00eb ajo dedikoi p\u00ebr t\u2019u p\u00ebrgjigjur disa pyetjeve p\u00ebr k\u00ebt\u00eb shkrim.<\/p>\n

F.<\/strong><\/em>\u00a0\u00c7far\u00eb ju frym\u00ebzoi m\u00eb shum\u00eb n\u00eb karakterin tuaj si Rudin\u00eb n\u00eb filmin Open Door?<\/em><\/p>\n

L<\/strong>. Mendova se kisha mund\u00ebsi si aktore p\u00ebr t\u00eb krijuar nj\u00eb karakter t\u00eb plot\u00eb dhe shum\u00eb njer\u00ebzor me rolin e Rudin\u00ebs. M\u00eb p\u00eblqeu sepse ky personazh sillej n\u00eb m\u00ebnyr\u00eb t\u00eb ndryshme nga ajo \u00e7far\u00eb ndjente. Ajo \u00ebsht\u00eb nj\u00eb njeri i p\u00ebrgjegjsh\u00ebm dhe arrin t\u00eb vet\u00ebmohohet p\u00ebr shkak t\u00eb dashuris\u00eb p\u00ebr njer\u00ebzit e saj dhe t\u00eb bashk\u00ebshortit. Rudina \u00ebsht\u00eb gruaja q\u00eb p\u00ebrpelitej mes detyrave dhe d\u00ebshirave me nj\u00eb ekulib\u00ebr t\u00eb prishur mes tyre. Gjith\u00eb pesha e p\u00ebrgjegj\u00ebsive prej koh\u00ebsh varet vet\u00ebm mbi supet e saj dhe gurin e fundit e vendos e motra, nj\u00eb vajze akoma e parritur n\u00eb dukje e pap\u00ebrgjegjshme. \u00cbsht\u00eb kjo dhe rrjedha e ngjarjeve t\u00eb m\u00ebvonshme q\u00eb b\u00ebjn\u00eb at\u00eb riekuilibrimin e jet\u00ebs s\u00eb k\u00ebtyre dy grave. Nj\u00ebra skllave e detyr\u00ebs (Rudina) dhe tjetra q\u00eb ndjek vet\u00ebm d\u00ebshirat (Elma). Ato konfliktohen por marrin e japin shum\u00eb nga nj\u00ebra tjetra duke m\u00ebsuar t\u00eb marrin vendimet e duhura p\u00ebr veten. Ato gjat\u00eb k\u00ebtij udh\u00ebtimi marrin guximin t\u00eb thon\u00eb t\u00eb v\u00ebrtet\u00ebn dhe t\u00eb mbajn\u00eb p\u00ebrgjegj\u00ebsi p\u00ebr t\u00eb.<\/em><\/p>\n

F.<\/strong>\u00a0Kush ishte aspekti m\u00eb i v\u00ebshtir\u00eb i k\u00ebtij karakteri p\u00ebr t\u2019u komunikuar tek spektator\u00ebt?<\/em><\/p>\n

L<\/strong>. \u00cbsht\u00eb nj\u00eb histori e thjesht\u00eb. Ajo \u00e7far\u00eb ndodh n\u00eb k\u00ebt\u00eb film \u00ebsht\u00eb m\u00eb tep\u00ebr brenda personazheve (sidomos asaj t\u00eb Rudin\u00ebs). Detyra ishte t\u00eb krijonim k\u00ebt\u00eb marr\u00ebdh\u00ebnie t\u00eb besueshme mes motrash dhe t\u00eb ruanim intensitetin p\u00ebrkat\u00ebs sken\u00eb pas skene. Duhej rr\u00ebfyer ky dyzim ndjenjash, d\u00ebshirash, brengash nga ana e Rudin\u00ebs n\u00ebp\u00ebrmjet detajeve t\u00eb vogla q\u00eb t\u00eb mund te p\u00ebrgenjeshtronin \u201ceg\u00ebrsin\u00eb\u201d slogans<\/em>\u00a0e saj. Ishte pik\u00ebrisht kjo ajo q\u00eb m\u00eb p\u00eblqente te personazhi por q\u00eb e b\u00ebnte delikat interpretimin. \u00cbsht\u00eb nj\u00eb film q\u00eb mbahet n\u00eb loj\u00ebn e aktoreve dhe asnj\u00eb gabim nuk mbulohej dot me element\u00eb t\u00eb tjer\u00eb kinematografik\u00eb. Ishte nj\u00eb kamer\u00eb gjith\u00eb koh\u00ebn mbi portret dhe ne u p\u00ebrpoq\u00ebm q\u00eb loja t\u00eb ishte sa m\u00eb e v\u00ebrtet\u00eb.<\/em><\/p>\n

F.<\/strong>\u00a0A besoni se karakteri juaj \u00ebsht\u00eb relevant me femrat e Shqip\u00ebris\u00eb s\u00eb sotme?<\/em><\/p>\n

L<\/strong>. Patjet\u00ebr dhe jo vet\u00ebm n\u00eb Shqip\u00ebri por n\u00eb gjith\u00eb ballkanin mendoj. N\u00eb \u00e7do familje ka nj\u00eb mot\u00ebr t\u00eb madhe e cila kujdeset p\u00ebr motrat e v\u00ebllez\u00ebrit m\u00eb t\u00eb vegj\u00ebl, dhe nj\u00eb tjet\u00ebr q\u00eb abuzon duke sjell\u00eb n\u00eb sht\u00ebpi vet\u00ebm telashe. Femra sidomos n\u00eb Shqip\u00ebri \u00ebsht\u00eb m\u00eb pran\u00eb familjes duke sakrifikuar lirin\u00eb, d\u00ebshirat e saj personale n\u00eb em\u00ebr t\u00eb detyr\u00ebs por edhe vet\u00ebsakrifikimit p\u00ebr familjen.<\/p>\n

F.<\/strong>\u00a0A kishte di\u00e7ka q\u00eb ju ndihmoi p\u00ebr t\u2019u lidhur psikisht me karakterin e Rudin\u00ebs?<\/em><\/p>\n

L.<\/strong>\u00a0Jam mot\u00ebr e madhe; kam dy v\u00ebllez\u00ebr m\u00eb t\u00eb rinj se vetja dhe mund ta b\u00ebni vet\u00eb lidhjen. Jam shum\u00eb e lidhur me familjen dhe kisha shum\u00eb p\u00ebr t\u00eb dh\u00ebn\u00eb n\u00eb rol sidomos n\u00eb marr\u00ebdh\u00ebnien me motr\u00ebn.
\nP\u00ebr sa i p\u00ebrket t\u00eb qenit e p\u00ebrgjegjshme dhe shpirtit t\u00eb vet\u00ebsakrifikimit gjithashtu \u00ebsht\u00eb di\u00e7ka q\u00eb e kam me shumic\u00eb.<\/p>\n

F.<\/strong>\u00a0Kur xhirimet mbaruan dhe filmi ishte gati p\u00ebr publikun, \u00e7far\u00eb ishte ajo q\u00eb ju ngeli n\u00eb shpirt nga ky karakter?<\/em><\/p>\n

L.<\/strong>\u00a0Isha e k\u00ebnaqur q\u00eb n\u00eb fund, t\u00eb gjith\u00eb personazhet ndjen\u00eb shijen e s\u00eb v\u00ebrtet\u00ebs.<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

Historikisht, zhanri i filmit rrugor \u2013 the road movie \u2013 gjithmon\u00eb i p\u00ebrkiste burrave. Dhe kjo sepse, midis arsyeve t\u00eb tjera q\u00eb kan\u00eb t\u00eb b\u00ebjn\u00eb me territorin e femrave dhe meshkujve n\u00eb terrenin filmik, ky \u00ebsht\u00eb nj\u00eb zhan\u00ebr i \u00e7ili burron nga zhanri klasik q\u00eb jan\u00eb n\u00eb thelb mashkullor\u00eb\u00a0 \u2013 western, gangster film, film noir. […]<\/p>","protected":false},"author":414,"featured_media":9215,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[957,1559,1322,567],"ppma_author":[773],"class_list":["post-5392","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-film","tag-florenc-papas","tag-kritike","tag-review"],"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\/5392","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=5392"}],"version-history":[{"count":2,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5392\/revisions"}],"predecessor-version":[{"id":9216,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5392\/revisions\/9216"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/9215"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=5392"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=5392"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=5392"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=5392"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}