Q\u00eb t\u00eb quhesh nj\u00eb kineast i mir\u00eb t\u00eb duhen dy elemente kryesore: vizioni dhe pasioni. Pasion p\u00ebr \u00e7\u00ebshtjet q\u00eb eksploron n\u00eb pun\u00ebn t\u00ebnde dhe vizion p\u00ebr m\u00ebnyr\u00ebn se si i komunikon ato me publikun.<\/p>\n
Me filmin e saj t\u00eb par\u00eb me metrazh t\u00eb gjat\u00eb, Zgjoi, Blerta Basholli ka treguar me hijeshi se i ka t\u00eb dyja k\u00ebto atribute – dhe mendoj se q\u00eb tani ajo mund t\u00eb konsiderohet si nj\u00eb pjes\u00eb e asaj q\u00eb Ray Lobo ka quajtur ‘fillimet e nj\u00eb epoke t\u00eb art\u00eb kinematografike’ p\u00ebr Kosov\u00ebn n\u00eb shkrimin i tij p\u00ebr filmin. Basholli po tregohet radikale n\u00eb m\u00ebnyr\u00ebn e saj t\u00eb qart\u00eb dhe t\u00eb qet\u00eb. Zgjoi shtjellon traum\u00ebn shoq\u00ebrore t\u00eb Kosov\u00ebs duke v\u00ebn\u00eb n\u00ebn mikroskop historin\u00eb e nj\u00eb gruaje q\u00eb mbart dhimbjen e saj me dinjitet dhe m\u00ebnyr\u00eb t\u00eb q\u00ebndrueshme, q\u00eb p\u00ebrballet me barriera kulturore, kufizime dhe pengesa q\u00eb nuk jan\u00eb t\u00eb pazakonta p\u00ebr shumic\u00ebn e grave, dhe q\u00eb p\u00ebrfundimisht i kap\u00ebrcen ato me kompetenc\u00eb.<\/p>\n
N\u00eb luft\u00ebn e saj p\u00ebr mbijetes\u00eb dhe pavar\u00ebsi, ajo p\u00ebrkrahet prej nj\u00eb grupi grash dhe s\u00eb bashku na tregojn\u00eb se \u00e7far\u00eb mund t\u00eb arrijn\u00eb grat\u00eb kur veprojn\u00eb me solidaritet. Midis tyre \u00ebsht\u00eb dhe Adriana Matoshi, n\u00eb rolin e Lumes (p\u00ebrs\u00ebri!). Mbase emri i saj n\u00eb ekran \u00ebsht\u00eb i zakonsh\u00ebm, por aft\u00ebsia e saj interpretative si n\u00eb role kryesore, ashtu edhe n\u00eb role dyt\u00ebsore, duket nj\u00eblloj e rafinuar, pra talenti i saj vet\u00ebm i zakonsh\u00ebm nuk mund t\u00eb quhet.<\/p>\n
Jan\u00eb t\u00eb rrall\u00eb filmat ku \u00e7do kuad\u00ebr dhe \u00e7do moment, \u00e7do gjest dhe \u00e7do sken\u00eb mbart aq shum\u00eb emocione dhe kuptim. Dhe akoma m\u00eb t\u00eb rrall\u00eb jan\u00eb filmat q\u00eb mund t\u00eb adresojn\u00eb dhe trajtojn\u00eb tema t\u00eb ndryshme nj\u00ebkoh\u00ebsisht n\u00eb nj\u00eb nivel t\u00eb k\u00ebnaqsh\u00ebm: komploti k\u00ebtu zgjerohet p\u00ebr t\u00eb n\u00ebnshtruar traum\u00ebn personale si pjes\u00eb e traum\u00ebs shoq\u00ebrore, t\u00eb qen\u00ebt grua n\u00eb nj\u00eb shoq\u00ebri patriarkale, nd\u00ebrthurjen e kategorive shoq\u00ebrore s\u00eb klas\u00ebs dhe gjinis\u00eb, familjen me nj\u00eb prind, nj\u00eb vajz\u00eb adoleshente q\u00eb po shnd\u00ebrrohet n\u00eb grua me ciklin e saj menstrual t\u00eb par\u00eb dhe ndikimin e munges\u00ebs s\u00eb figur\u00ebs at\u00ebrore mbi personazhin e f\u00ebmij\u00ebve adoleshent\u00eb.<\/p>\n
Elementi m\u00eb i admiruesh\u00ebm i filmit \u00ebsht\u00eb fakti se na tregon dy imazhe t\u00eb gruas q\u00eb koekzistojn\u00eb – nj\u00ebri \u00ebsht\u00eb nj\u00eb imazh q\u00eb rrjedh nga perceptimet shoq\u00ebrore q\u00eb jan\u00eb konsoliduar n\u00eb koh\u00eb (gruaja si seksi i dob\u00ebt) dhe tjetri \u00ebsht\u00eb nj\u00eb imazh q\u00eb v\u00eb n\u00eb pik\u00ebpyetje ato perceptime. Nga nj\u00ebra an\u00eb, gruaja si adoleshente q\u00eb pi duhan fshehurazi nga t\u00eb m\u00ebdhenjt\u00eb (dhe Yllka mesa duket nuk e pi duhanin n\u00eb t\u00eb v\u00ebrtet\u00eb sepse cigarja duket gj\u00eb e huaj n\u00eb dor\u00ebn e saj), q\u00eb ul kok\u00ebn kur i flet i madhi dhe kur i p\u00ebrgjigjet atij, q\u00eb heq dor\u00eb nga vendimet dhe veprimet e saja dhe u n\u00ebnshtrohet urdhrave t\u00eb t\u00eb m\u00ebdhenjve.<\/p>\n
Nga ana tjet\u00ebr, gruaja si nj\u00eb personalitet i plot\u00eb me d\u00ebshira dhe ambicie, shqet\u00ebsime, shpresa, dhimbje dhe sfida t\u00eb p\u00ebrditshme; si nj\u00eb njeri q\u00eb u kund\u00ebrvihet paragjykimeve dhe d\u00ebshmon natyr\u00ebn e tyre arbitrare, si nj\u00eb person me forc\u00eb t\u00eb brendshme aq t\u00eb fuqishme sa lufton paragjykimet, amoralitetin dhe padrejt\u00ebsin\u00eb me gjeste simbolike: duke e shtyr\u00eb n\u00eb tok\u00eb at\u00eb q\u00eb e sulmon seksualisht, dhe duke thyer me nj\u00eb gur xhamat e kafenes\u00eb, si simbol i patriarkatit. Duke e treguar k\u00ebt\u00eb kontrast, regjisorja e p\u00ebrbuz dhe e p\u00ebr\u00e7mon n\u00eb nj\u00ebfar\u00eb m\u00ebnyre fabrikimin e imazhit t\u00eb par\u00eb.<\/p>\n
Gjithashtu, edhe aktrimi delikat i Yllka Gashit na ngacmon p\u00ebr t\u2019i rikonsideruar rolet, stereotipat dhe normat gjinore pik\u00ebrisht sepse mish\u00ebron di\u00e7ka q\u00eb ndodh gjithkund pas dyerve t\u00eb mbyllura, megjithat\u00eb ngelet nj\u00eb realitet i path\u00ebn\u00eb. Basholli dhe Gashi e kan\u00eb th\u00ebn\u00eb shum\u00eb hapur dhe qart\u00eb. Fahrija \u00ebsht\u00eb nj\u00eb heroin\u00eb e padukshme, derisa nj\u00eb tregimtare e zonja si regjisorja Basholli t\u2019i jap\u00eb z\u00eb p\u00ebr t\u00eb folur dhe fytyr\u00eb p\u00ebr t\u00eb na treguar. Si nj\u00eb arkitekte, ajo p\u00ebrcakton m\u00ebnyr\u00ebn dhe koh\u00ebn se si do t\u00eb prezantohen dhe do t\u00eb nd\u00ebrlidhen k\u00ebto dy imazhe n\u00eb m\u00ebnyr\u00ebn m\u00eb efektive dhe t\u00eb mpreht\u00eb, duke v\u00ebn\u00eb n\u00eb pah trupin e gruas ‘t\u00eb goditur’ (t\u00eb pickuar nga blet\u00ebt), t\u00eb lodhur nga puna e p\u00ebrhershme, t\u00eb trajtuar me dhun\u00eb dhe mosrespektim.<\/p>\n
P\u00ebr mua qe nj\u00eb moment ky\u00e7\u00a0skena ku Fahrija jep provimin p\u00ebr patent\u00ebn n\u00eb nj\u00eb klas\u00eb ku \u00ebsht\u00eb e vetmja grua. Dhe n\u00eb at\u00eb moment mendova se ky \u00ebsht\u00eb nj\u00eb imazh mjaft i njohur kur b\u00ebhet fjal\u00eb p\u00ebr gra q\u00eb kan\u00eb hapur rrug\u00ebtimin drejt emancipimit n\u00eb nj\u00eb m\u00ebnyr\u00eb apo n\u00eb nj\u00eb tjet\u00ebr. Pra, nuk mund t\u00eb mos kujtoja skena t\u00eb ngjashme: ishte Keira Knightley te filmi\u00a0The Imitation Game\u00a0(2014) n\u00eb rolin e Joan Clarke, ishte edhe Janelle Monae te filmi\u00a0Hidden Figures\u00a0(2016) n\u00eb rolin e Mary Jacksonit, t\u00eb ulura n\u00eb nj\u00eb klas\u00eb midis burrave q\u00eb ndodhen aty, qoft\u00eb p\u00ebr t\u00eb dh\u00ebn\u00eb nj\u00eb provim t\u00eb v\u00ebshtir\u00eb, qoft\u00eb p\u00ebr t\u00eb studiuar nj\u00eb l\u00ebnd\u00eb ku mazhoranca jan\u00eb burra p\u00ebrkat\u00ebsisht. N\u00eb m\u00ebnyr\u00eb t\u00eb ngjashme edhe Yllka Gashi k\u00ebtu \u00ebsht\u00eb nj\u00eb agjente t\u00eb ndryshimit n\u00eb perceptimin e roleve gjinore ashtu si\u00e7 ishin paracaktuar deri tani. Jan\u00eb pra momente t\u00eb vogla si ky q\u00eb i japin filmit nj\u00eb esenc\u00eb shp\u00ebrthyese, t\u00eb vrullshme, si nj\u00eb zgjim – the Awakening!<\/p>\n
Zgjoi \u00ebsht\u00eb nj\u00eb tregim q\u00eb mund\u00ebson t\u00eb kuptuarit m\u00eb t\u00eb avancuar t\u00eb dimensionit n\u00eb t\u00eb cilin gruaja dhe puna e saj jan\u00eb n\u00ebnvler\u00ebsuar n\u00eb kontekstin e luft\u00ebs dhe\u00a0periudh\u00ebs e pasluft\u00ebs. Gjithashtu, filmi sh\u00ebnon dhe nevoj\u00ebn urgjente n\u00eb k\u00ebto situata p\u00ebr individ\u00ebt t\u00eb organizohen pas nj\u00eb objektive p\u00ebr t\u00eb ndikuar ndryshime\u00a0thelb\u00ebsore n\u00eb status quo-n\u00eb.\u00a0Dhe n\u00ebse gra t\u00eb tjera si Emine Vitija Brahimi dhe Ibadete Canolli-Ka\u00e7iu kan\u00eb kontribuar n\u00eb frontet e luft\u00ebs, Zgjoi manifeston se\u00a0gra t\u00eb tjera si Fahrije Hoti kan\u00eb kontribuar n\u00eb frontet e brendshme t\u00eb shoq\u00ebris\u00eb kosovare, n\u00eb rrjetat e familjes, t\u00eb biznesit, t\u00eb komunitetit n\u00eb p\u00ebrgjith\u00ebsi.<\/p>\n
Duke\u00a0shpalosur historin\u00eb e Fahrijes n\u00eb nj\u00eb m\u00ebnyr\u00eb t\u00eb p\u00ebrpikt\u00eb, filmi dokumenton edhe p\u00ebrjashtimin e gruas nga diskursi lidhur me koh\u00ebn e luft\u00ebs dhe pasluft\u00ebs,\u00a0por m\u00eb tep\u00ebr nd\u00ebrton nj\u00eb lloj shtatoreje p\u00ebr ta shp\u00ebtuar n\u00eb nj\u00eb far\u00eb m\u00ebnyre imazhin e gruas nga portretizimet e zakonshme si viktim\u00eb n\u00eb koh\u00eb lufte \u2013 k\u00ebtu ajo \u00ebsht\u00eb nj\u00eb heroin\u00eb dhe tani ne t\u00eb gjith\u00eb e kemi par\u00eb dhe nuk mund ta kthenim kok\u00ebn anash. E pakta q\u00eb mund t\u00eb b\u00ebjm\u00eb \u00ebsht\u00eb t\u2019i japim nj\u00eb Oscar!<\/p>","protected":false},"excerpt":{"rendered":"
Q\u00eb t\u00eb quhesh nj\u00eb kineast i mir\u00eb t\u00eb duhen dy elemente kryesore: vizioni dhe pasioni. Pasion p\u00ebr \u00e7\u00ebshtjet q\u00eb eksploron n\u00eb pun\u00ebn t\u00ebnde dhe vizion p\u00ebr m\u00ebnyr\u00ebn se si i komunikon ato me publikun. Me filmin e saj t\u00eb par\u00eb me metrazh t\u00eb gjat\u00eb, Zgjoi, Blerta Basholli ka treguar me hijeshi se i ka t\u00eb […]<\/p>","protected":false},"author":414,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[748,721,664],"ppma_author":[773],"class_list":["post-2315","post","type-post","status-publish","format-standard","hentry","category-kritike","tag-cinema","tag-feminism","tag-kosovo"],"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\/sr\/wp-json\/wp\/v2\/posts\/2315","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/users\/414"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=2315"}],"version-history":[{"count":1,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/2315\/revisions"}],"predecessor-version":[{"id":2316,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/2315\/revisions\/2316"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=2315"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=2315"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=2315"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=2315"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}