{"id":5571,"date":"2020-07-09T14:07:27","date_gmt":"2020-07-09T12:07:27","guid":{"rendered":"https:\/\/sbunker.org\/?p=5571"},"modified":"2024-10-08T11:06:49","modified_gmt":"2024-10-08T09:06:49","slug":"delegacioni-nje-drame-pa-efekt-dramatik","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/opinion\/delegacioni-nje-drame-pa-efekt-dramatik\/","title":{"rendered":"\u2018Delegacioni\u2019: nj\u00eb dram\u00eb pa efekt dramatik"},"content":{"rendered":"<div class=\"news-left\">\n<p><em>N\u00eb asnj\u00eb periudh\u00eb n\u00eb historin\u00eb e filmave nuk ka qen\u00eb e zakonshme t\u2019i shfaq\u00ebm p\u00ebr publikun pa shoq\u00ebrimin e nj\u00eb lloj muzike n\u00eb background.<\/em><\/p>\n<p><em>Alberto Cavalcanti<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>Me vler\u00ebsime t\u00eb shumta nga festivale nd\u00ebrkomb\u00ebtare, \u2018Delegacioni\u2019 mbase \u00ebsht\u00eb filmi m\u00eb i suksessh\u00ebm shqiptar bashk\u00ebkohor. Bashk\u00ebprodhimi Shqip\u00ebri\/ Franc\u00eb\/ Greqi\/ Kosov\u00eb do ket\u00eb premier\u00ebn e tij n\u00eb Franc\u00eb n\u00eb dat\u00ebn 22 korrik dhe do p\u00ebrfaq\u00ebsoj\u00eb Shqip\u00ebrin\u00eb edhe n\u00eb Oscars 2020 n\u00eb kategorin\u00eb e Filmit Nd\u00ebrkomb\u00ebtar m\u00eb t\u00eb Mir\u00eb, q\u00eb p\u00ebr shkak t\u00eb pandemis\u00eb do zhvillohet n\u00eb Prill 2021. Ky \u00ebsht\u00eb filmi i tret\u00eb me metrazh t\u00eb gjat\u00eb i Bujar Alimanit, i cili p\u00ebr her\u00eb t\u00eb tret\u00eb po p\u00ebrfaq\u00ebson Shqip\u00ebrin\u00eb n\u00eb Oscars \u2013 n\u00eb 2011 me filmin \u2018Amnistia\u2019, dhe n\u00eb 2016 me filmin \u2018Krom\u2019. K\u00ebt\u00eb radh\u00eb, me skenar t\u00eb Artan Minarrollit \u2013 sigurisht i ndryshuar p\u00ebrtej njohjes \u2013 dhe me yjet e kinemas\u00eb shqiptare Viktor Zhusti, Ndri\u00e7im Xhepa dhe Xhevdet Feri, Alimani ka sjell\u00eb n\u00eb ekranin e madh nj\u00eb portret historik t\u00eb Shqip\u00ebris\u00eb t\u00eb viteve 1990 \u2013 sado minimal apo i ngusht\u00eb \u2013 q\u00eb \u00ebsht\u00eb dekoruar me \u00e7mime t\u00eb ndryshme jasht\u00eb vendit dhe ka krijuar nj\u00eb ndjenj\u00eb krenarie n\u00eb t\u00eb gjith\u00eb shqiptar\u00ebt. Filmi \u00ebsht\u00eb historia e nj\u00eb t\u00eb burgosuri politik i cili po transferohet n\u00eb Tiran\u00eb, ku do takohet me delegacionin europian i cili ka arritur p\u00ebr t\u00eb monituar reformat e qeveris\u00eb.<\/p>\n<p>Ajo \u00e7ka i jep dinamiz\u00ebm tregimit \u00ebsht\u00eb sigurisht kombinimi unik i talenteve t\u00eb tre veteran\u00ebve t\u00eb kinemas\u00eb shqiptare, sado t\u00eb kufizuar ata jan\u00eb nga zhvillimi i\u00a0 ngadalt\u00eb i tregimit, t\u00eb cilit i mungon ajo energji q\u00eb zakonisht b\u00ebn dallimin midis filmave t\u00eb mir\u00eb dhe filmave t\u00eb shk\u00eblqyesh\u00ebm. Edhe pse karakteret jan\u00eb tre tipa njer\u00ebzish leht\u00ebsisht t\u00eb dalluesh\u00ebm, Zhusti, Xhepa dhe Ferri kan\u00eb nj\u00eb cil\u00ebsi t\u00eb ngjashme n\u00eb loj\u00ebn e tyre mbi ekran \u2013 pothuajse nj\u00eb cil\u00ebsi klasike q\u00eb buron nga qasja e ngjashme q\u00eb ata kan\u00eb drejt artit t\u00eb interpretimit filmik. Disiplina e arkitektur\u00ebs t\u00eb interpretimeve t\u00eb tyre krijon dhe ruan vijueshm\u00ebrin\u00eb e nevojshme p\u00ebr t\u2019i njohur dhe p\u00ebr t\u2019i besuar si njer\u00ebz t\u00eb plot\u00eb \u2013 bindja e brendshme, interpretimi fizik dhe komunikimi intelektual, t\u00eb gjitha kombinohen me mjesht\u00ebri. \u2018Temperamenti aktoresk\u2019 i Xhep\u00ebs dhe \u2018individualiteti i ve\u00e7ant\u00eb aktoresk\u2019 i Ferrit, si\u00e7 i p\u00ebrshkruan Abaz Hoxha n\u00eb enciklopedin\u00eb e Kinematografis\u00eb Shqiptare, shfaqen dor\u00eb p\u00ebr dore me ngroht\u00ebsin\u00eb e Zhustit dhe i japin nj\u00eb not\u00eb autentike k\u00ebsaj drame disi t\u00eb pazhvilluar n\u00eb m\u00ebnyr\u00eb t\u00eb k\u00ebnaqshme. Nga dialog\u00ebt e thjesht\u00eb na jepen informacione n\u00eb lidhje me jet\u00ebt e dy personazheve Leo dhe Asllani, dhe jan\u00eb k\u00ebto momente t\u00eb pakta, t\u00eb cilat e nd\u00ebrtojn\u00eb mjaft historin\u00eb sa p\u00ebr t\u00eb mundur ta ndjekur deri n\u00eb fund.<\/p>\n<p>Filmi humb shum\u00eb nga mungesa e nj\u00eb elementi themelor kur b\u00ebhet fjal\u00eb p\u00ebr zhanrin e dram\u00ebs: muzika n\u00eb background. Filmit shqiptar n\u00eb p\u00ebrgjith\u00ebsi i mungon ky element bazor, i cili vler\u00ebsohet nga kritik\u00ebt dhe teoricien\u00ebt e filmit, gjithashtu dhe nga kineast\u00ebt dhe fansan e tij si nj\u00eb element i nevojsh\u00ebm p\u00ebr t\u2019i dh\u00ebn\u00eb tregimit rit\u00ebm dhe p\u00ebr t\u00eb krijuar atmosfer\u00ebn e duhur. Efektet zanore n\u00eb p\u00ebrgjith\u00ebsi ndihmojn\u00eb drejt k\u00ebtij q\u00ebllimi duke mb\u00ebshtetur veprimin dramatik, por muzika \u00ebsht\u00eb elementi extra-digetik num\u00ebr nj\u00eb i cili mund t\u00eb shp\u00ebtoj\u00eb ose prish\u00eb nj\u00eb film. Duke komentuar p\u00ebr nevoj\u00ebn dhe r\u00ebnd\u00ebsin\u00eb e muzik\u00ebs n\u00eb kinema n\u00eb nj\u00eb artikull n\u00eb n\u00ebntor 2015 n\u00eb Sbunker, Dritan Dragusha p\u00ebrdor nj\u00eb th\u00ebnie t\u00eb Stanley Kubrick: Nj\u00eb film \u00ebsht\u00eb \u2013 apo duhet t\u00eb jet\u00eb \u2013 m\u00eb shum\u00eb si muzik\u00eb sesa fiction. Ai duhet t\u00eb jet\u00eb nj\u00eb avancim i gjendjes son\u00eb shpirt\u00ebrore. Shum\u00eb e v\u00ebrtet\u00eb. Duke e lexuar m\u2019u kujtua dhe di\u00e7ka tjet\u00ebr q\u00eb ka th\u00ebn\u00eb regjisori i madh: ekrani \u00ebsht\u00eb nj\u00eb medium magjik. Ai ka nj\u00eb fuqi t\u00eb till\u00eb q\u00eb mund t\u00eb ruaj\u00eb interesin pasi p\u00ebrcjell emocione dhe humor q\u00eb asnj\u00eb form\u00eb tjet\u00ebr arti nuk mund t\u00eb shpresoj\u00eb t\u00eb trajtoj\u00eb. \u00cbsht\u00eb pik\u00ebrisht kjo magji q\u00eb mungon nga \u2018Delegacioni\u2019. Imagjinoni sa e ndryshme do ishte skena kur Asllani (Ferri) k\u00ebrc\u00ebnon Leon (Zhusti) me nj\u00eb arm\u00eb n\u00eb dor\u00eb (befasi) n\u00ebse ajo ishte shoq\u00ebruar me nj\u00eb muzik\u00eb q\u00eb krijon k\u00ebt\u00eb emocion; apo skena kur Leo \u00e7ohet nga krevati i tij n\u00eb qelin\u00eb e burgut pa ditur se ku po e \u00e7ojn\u00eb (pezullim); ose skena drejt fundit kur t\u00eb dy ndodhen n\u00eb buz\u00eb t\u00eb lumit dhe Spiro (Xhepa) arin pran\u00eb tyre dhe shikon se \u00e7far\u00eb ka ndodhur (zhg\u00ebnjim dhe t\u00ebrbim). N\u00eb t\u00eb gjitha rastet mbizot\u00ebron nj\u00eb lloj plog\u00ebshti. Imazhi i fundit i lumit \u00ebsht\u00eb n\u00eb vetvete si nj\u00eb melodi, nuk i shton asgj\u00eb tregimit p\u00ebrve\u00e7 k\u00ebnaq\u00ebsi vizuale p\u00ebr t\u00eb shoq\u00ebruar ngjarjen t\u00eb sapondodhur. Nj\u00eb lloj melodie n\u00eb background sigurisht do i jepte nj\u00eb dimension poetik \u2013 magji!<\/p>\n<p>At\u00ebher\u00eb, pse filmi shqiptar nuk p\u00ebrdor k\u00ebt\u00eb element kaq t\u00eb r\u00ebnd\u00ebsish\u00ebm q\u00eb ndikon kaq fort tek imazhi i nj\u00eb filmi? Dhe sidomos kur b\u00ebhet fjal\u00eb p\u00ebr filma t\u00eb cil\u00ebt q\u00ebllojn\u00eb t\u00eb apelojn\u00eb tek nj\u00eb audienc\u00eb t\u00eb gjer\u00eb jasht\u00eb shtetit, q\u00eb jan\u00eb t\u00eb m\u00ebsuar me modelin q\u00eb ka krijuar Hollivudi \u2013 t\u00eb cilin brezat e rinj t\u00eb vendit ton\u00eb e preferojn\u00eb para filmit shqiptar. Shikoni shembullin e kompozitorit Enio Morricone, i cili nd\u00ebrroi jet\u00eb para disa dit\u00ebsh (6 korrik): muzika q\u00eb ai kompozoi mbi 60 vite p\u00ebr 400 filma nga t\u00eb gjitha zhanret, \u00ebsht\u00eb pjes\u00eb e identitetit t\u00eb filmave q\u00eb ka shoq\u00ebruar \u2013 madje shpesh her\u00eb kolonat zanore t\u00eb tij jan\u00eb m\u00eb t\u00eb mir\u00ebnjohura se sa filmat vet\u00eb. Asnj\u00eb nga filmat p\u00ebr t\u00eb cil\u00ebt ai kompozoi muzik\u00eb nuk do njiheshin n\u00eb t\u00eb nj\u00ebjt\u00ebn m\u00ebnyr\u00eb sot n\u00ebse i mungonte ky element (The Good, the Bad and the Ugly; Once Upon a Time in America; Days of Heaven; The Mission; Malena, etj). Pra \u00ebsht\u00eb \u00e7udi pse kineast\u00ebt shqiptar\u00eb nuk p\u00ebrdorin k\u00ebt\u00eb mjet i cili \u00ebsht\u00eb themelor n\u00eb krijimin e emocionit tek spektatori, p\u00ebr t\u2019i afruar pran\u00eb pun\u00ebs s\u00eb tyre! Mos t\u00eb harrojm\u00eb se kinematografia shqiptare ka dy zhanre kryesor\u00eb, komedi dhe dram\u00eb, dhe nj\u00ebri prej p\u00ebrdorimeve m\u00eb tradicional i muzik\u00ebs, \u00ebsht\u00eb p\u00ebr t\u00eb forcuar efektin dramatik dhe p\u00ebr t\u00eb p\u00ebrcaktuar, p\u00ebr t\u00eb mbajtur dhe p\u00ebr t\u00eb ndryshuar atmosfer\u00ebn e filmit \u2013 p\u00ebrndryshe \u00e7do imazh n\u00eb ekranin e madh do ishte thjesht nj\u00eb hap m\u00eb shum\u00eb af\u00ebr monotonis\u00eb s\u00eb m\u00ebrzitshme.\u00a0 Drama \u00ebsht\u00eb nj\u00eb zhan\u00ebr, i cili plot\u00ebsohet dhe p\u00ebrforcohet nga p\u00ebrdorimi krijues i muzik\u00ebs \u2013 drama e \u2018Delegacionit\u2019 n\u00eb k\u00ebt\u00eb rast bie n\u00eb amulli dhe k\u00ebshtu mbetet p\u00ebrgjysm\u00eb.<\/p>\n<p>&nbsp;<\/p>\n<\/div>\n<div class=\"news-right\">\n<div class=\"post\">\n<p class=\"author\">\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>N\u00eb asnj\u00eb periudh\u00eb n\u00eb historin\u00eb e filmave nuk ka qen\u00eb e zakonshme t\u2019i shfaq\u00ebm p\u00ebr publikun pa shoq\u00ebrimin e nj\u00eb lloj muzike n\u00eb background. Alberto Cavalcanti &nbsp; Me vler\u00ebsime t\u00eb shumta nga festivale nd\u00ebrkomb\u00ebtare, \u2018Delegacioni\u2019 mbase \u00ebsht\u00eb filmi m\u00eb i suksessh\u00ebm shqiptar bashk\u00ebkohor. Bashk\u00ebprodhimi Shqip\u00ebri\/ Franc\u00eb\/ Greqi\/ Kosov\u00eb do ket\u00eb premier\u00ebn e tij n\u00eb Franc\u00eb [&hellip;]<\/p>","protected":false},"author":414,"featured_media":7966,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"ppma_author":[773],"class_list":["post-5571","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-opinion"],"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 &amp; 2021)."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5571","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=5571"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5571\/revisions"}],"predecessor-version":[{"id":8046,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5571\/revisions\/8046"}],"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=5571"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=5571"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=5571"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=5571"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}