{"id":4173,"date":"2018-02-05T11:52:56","date_gmt":"2018-02-05T09:52:56","guid":{"rendered":"https:\/\/sbunker.org\/?p=4173"},"modified":"2024-11-12T11:55:05","modified_gmt":"2024-11-12T09:55:05","slug":"bota-aty-ku-ceshtjet-personale-dhe-ceshtjet-politike-konvergojne","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/bota-aty-ku-ceshtjet-personale-dhe-ceshtjet-politike-konvergojne\/","title":{"rendered":"Bota, aty ku \u00e7\u00ebshtjet personale dhe \u00e7\u00ebshtjet politike konvergojn\u00eb"},"content":{"rendered":"<div class=\"news-up\"><\/div>\n<div class=\"news-down\">\n<div class=\"img-wrapper\"><\/div>\n<div class=\"news-left\">\n<p>Vall\u00ebzimi i zjarrt\u00eb i Nor\u00ebs n\u00eb mes t\u00eb shkret\u00ebtir\u00ebs me nj\u00eb melodi nostalgjike t\u00eb s\u00eb kaluar\u00ebs q\u00eb p\u00ebrfundon filmin<em>\u00a0Bota<\/em>\u00a0(Iris Elezi &amp; Thomas Logoreci, 2014) krijon nj\u00eb imazh shum\u00eb t\u00eb ndikuesh\u00ebm q\u00eb gjall\u00ebrisht kap imagjinat\u00ebn e spektator\u00ebve, i ndjek dhe i \u00e7liron ata n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb. Imazhi i saj n\u00eb l\u00ebvizje \u2013 pik\u00ebrisht si nj\u00eb flutur, si krijesa m\u00eb e bukur \u2013 n\u00eb k\u00ebt\u00eb peizazh t\u00eb izoluar n\u00eb sfond, e b\u00ebn Bot\u00ebn d\u00ebshmitarin e gjall\u00ebris\u00eb s\u00eb shpirtit t\u00eb saj dhe gjith\u00e7kaje q\u00eb ajo p\u00ebrfaq\u00ebson. Kjo \u00ebsht\u00eb m\u00ebnyra n\u00eb t\u00eb cil\u00ebn regjizor\u00ebt Elezi dhe Logoreci zgjodh\u00ebn t\u00eb p\u00ebrfundojn\u00eb filmin e tyre\u00a0<em>Bota<\/em>, nj\u00eb film rreth humbjes, dashuris\u00eb, jet\u00ebs, dhe tradh\u00ebtis\u00eb, nj\u00eb film q\u00eb kujton tragjedit\u00eb dhe traumat e s\u00eb kaluar\u00ebs, mbijeton gjendjen e s\u00eb tashmes, dhe beson n\u00eb nj\u00eb t\u00eb ardhme shpres\u00ebdh\u00ebn\u00ebse. Ky \u00ebsht\u00eb nj\u00eb film q\u00eb ka t\u00eb gjith\u00eb inteligjenc\u00ebn e nevojshme p\u00ebr t\u00eb krijuar nj\u00eb tregim frym\u00ebzues p\u00ebrmes personazheve, peizazhit dhe muzik\u00ebs, nj\u00eb konvergjence dinamike, intriguese dhe p\u00ebrjet\u00ebsisht komplekse. N\u00eb vijim do t\u00eb diskutoj filmin n\u00eb lidhje me karakterizimin, stilin, dhe shqet\u00ebsimet tematike dhe do t\u00eb analizoj elementet q\u00eb e b\u00ebjn\u00eb at\u00eb jo vet\u00ebm nj\u00eb homazh ndaj trash\u00ebgimis\u00eb son\u00eb kulturore \u2013 ve\u00e7an\u00ebrisht ndaj tradit\u00ebs e muzik\u00ebs, let\u00ebrsis\u00eb, dhe kinemas\u00eb \u2013 por gjithashtu e b\u00ebjn\u00eb t\u00eb q\u00ebndroj\u00eb si nj\u00eb let\u00ebr dashurie drejtuar t\u00eb kaluar\u00ebs.<\/p>\n<p>N\u00eb aspektin e karakterizimit, filmi p\u00ebrmban dhe p\u00ebrzien tri gjenerata aktor\u00ebsh q\u00eb nd\u00ebrveprojn\u00eb me nj\u00ebri tjetrin dhe p\u00ebrshkruajn\u00eb me kujdes nj\u00eb tregim t\u00eb sinqert\u00eb p\u00ebr jet\u00ebn bashk\u00ebkohore n\u00eb Shqip\u00ebri ashtu si\u00e7 ajo \u00ebsht\u00eb prekur dhe formuar nga e kaluara trondit\u00ebse. Filmi me krenari paraqet zonj\u00ebn Tinka Kurti n\u00eb nj\u00eb interpretim t\u00eb jasht\u00ebzakonsh\u00ebm si Noje, nga nj\u00eb artiste e madhe t\u00eb tradit\u00ebs ton\u00eb t\u00eb sken\u00ebs dhe ekranit. Ajo ka kontribuar performanca dhe interpretime interesante dhe t\u00eb r\u00ebnd\u00ebsishme gjat\u00eb karrier\u00ebs s\u00eb saj t\u00eb gjat\u00eb, si n\u00eb teat\u00ebr ashtu edhe n\u00eb kinema, bukuria dhe shk\u00eblqimi i t\u00eb cilave \u00ebsht\u00eb e qart\u00eb se i rezistojn\u00eb koh\u00ebs. N\u00eb filmi\u00a0<em>Bota<\/em>\u00a0luan edhe aktori Artur Gorishti i cili \u00ebsht\u00eb i njohur dhe admiruar p\u00ebr talentin e tij si\u00e7 \u00ebsht\u00eb shfaqur n\u00eb filma si p\u00ebr sh\u00ebmbull Dora e Ngroht\u00eb (Kujtim Cashku,1983) dhe Eja (Piro Milkani, 1987). Me rolin e tij si Beni n\u00eb Bota aktori tregon nj\u00eb q\u00ebndrueshm\u00ebri t\u00eb vitalitetit t\u00eb tij n\u00eb koh\u00eb q\u00eb meriton lavd\u00ebrimin e spektator\u00ebve. N\u00eb m\u00ebnyr\u00eb t\u00eb ngjashme, Flonja Kodheli dhe Fioralba Kryedhima interpretuan me besnik\u00ebri dhe realitet dy personazhet kryesore t\u00eb Julit dhe Nor\u00ebs. Juli \u00ebsht\u00eb nj\u00eb introvert dhe p\u00ebr pjes\u00ebn m\u00eb t\u00eb madhe t\u00eb filmit q\u00ebndron pak e larg\u00ebt, ajo \u00ebsht\u00eb nj\u00eb vajz\u00eb q\u00eb meriton simpatin\u00eb dhe konsiderat\u00ebn ton\u00eb, n\u00eb t\u00eb cil\u00ebn spektator\u00ebt p\u00ebrfundimisht vendosin shpresat e tyre p\u00ebr nj\u00eb t\u00eb ardhme m\u00eb t\u00eb mir\u00eb. Nora \u00ebsht\u00eb nj\u00eb vajz\u00eb q\u00eb konvencionalisht mund t\u00eb quhet mendjeleht\u00eb, megjithat\u00eb n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb Fioralba i jep karakterit e saj nj\u00eb dimension human q\u00eb e shp\u00ebton at\u00eb nga natyra gjykuese njer\u00ebzore. Ajo e arrin k\u00ebt\u00eb p\u00ebrmes p\u00ebrshkrimeve autentike t\u00eb gjesteve t\u00eb saj, n\u00eb m\u00ebnyr\u00ebn se si ajo ec\u00ebn, qesh, vall\u00ebzon, dhe d\u00ebshp\u00ebron n\u00eb pendim.<\/p>\n<p>Historia e Nojes, Benit, Julit, dhe Nor\u00ebs zhvillohet n\u00eb fshati i vog\u00ebl Adriatik i cili \u00ebsht\u00eb nj\u00eb vend me r\u00ebnd\u00ebsi t\u00eb madhe historike q\u00eb vazhdon t\u00eb mbaj\u00eb sh\u00ebnjat e tradit\u00ebs komuniste deri n\u00eb dit\u00ebt e sotme dhe informon rutin\u00ebn e p\u00ebrditshme t\u00eb protagonist\u00ebve. Ktu ndodhen familjet e zhvendosura e njer\u00ebzve t\u00eb persekutuar q\u00eb e kund\u00ebrshtuan partin\u00eb komuniste. N\u00eb k\u00ebt\u00eb kuptim vendi dhe mjedisi i tij q\u00eb\u00a0kamera i kap n\u00eb imazhe statike, befasuese dhe magjepse, \u00ebsht\u00eb nj\u00eb karakter i zhvilluar plot\u00ebsisht n\u00eb t\u00eb drejt\u00ebn e tij, nj\u00eb element simbolik q\u00eb lidh t\u00eb kaluar\u00ebn me t\u00eb tashmen dhe negocion nd\u00ebrveprimin e tyre t\u00eb vazhduesh\u00ebm. Pra, vendi ku \u2018asgj\u00eb nuk ndodh kurr\u00eb\u2019, si\u00e7 sugjeron Juli n\u00eb nj\u00eb moment, \u00ebsht\u00eb n\u00eb t\u00eb v\u00ebrtet\u00eb nj\u00eb vend ku vet\u00eb historia ka ndodhur, nj\u00eb vend q\u00eb p\u00ebrmban historin\u00eb bashk\u00eb me njer\u00ebzit e saj, k\u00ebta njer\u00ebz q\u00eb jan\u00eb \u2018t\u00eb d\u00ebmtuar dhe ende t\u00eb gjall\u00eb\u2019. Nga momentet e para t\u00eb filmit regjisor\u00ebt kan\u00eb b\u00ebr\u00eb nj\u00eb zgjedhje t\u00eb mrekullueshme n\u00eb m\u00ebnyr\u00ebn se si karakteret prezantohen p\u00ebr her\u00eb t\u00eb par\u00eb\u00a0 brenda narrativ\u00ebs p\u00ebrmes hap\u00ebsir\u00ebs q\u00eb i rrethon ata. Ata na marrin p\u00ebr dore dhe me l\u00ebvizje ritmike dhe imazhe t\u00eb nj\u00ebpasnj\u00ebshme na tregojn\u00eb s\u00eb pari fshatin e vog\u00ebl n\u00eb distanc\u00eb, m\u00eb pas afrohemi m\u00eb pran\u00eb pallateve q\u00eb p\u00ebrb\u00ebjn\u00eb fshatin, dhe m\u00eb n\u00eb fund arrijm\u00eb n\u00eb ballkoni i Julit dhe p\u00ebrfundojm\u00eb brenda n\u00eb sht\u00ebpi ku ndodhet Noja.\u00a0<em>Bota<\/em>\u00a0i b\u00ebn homazh historis\u00eb t\u00eb k\u00ebtij vendi n\u00eb nj\u00eb m\u00ebnyre unike, pa p\u00ebrdorur estetik\u00eb melodramatike, por thjesht duke mbajtur nj\u00eb aparat fotografik p\u00ebr t\u00eb dokumentuar realitetin n\u00eb nj\u00eb realiz\u00ebm fenomenologjik. N\u00ebnkuptohet nga kjo zgjedhje stilistike e hapjes s\u00eb narativ\u00ebs se filmi b\u00ebhet pjes\u00eb e veprimtaris\u00eb shoq\u00ebrore dhe kulturore t\u00eb qarkullimit s\u00eb tregimeve si nj\u00eb mjet p\u00ebr ruajtjen dhe p\u00ebrkujtimin e historise kulturore.\u00a0<em>Bota<\/em>\u00a0\u00ebsht\u00eb nj\u00eb tregim, \u00ebsht\u00eb si nj\u00eb p\u00ebrrall\u00eb jo nga e kaluara por p\u00ebr t\u00eb kaluar\u00ebn, dhe spektatot\u00ebt p\u00ebrfitojn\u00eb nga pasqyrimi i drejtp\u00ebrdrejt\u00eb dhe i fuqish\u00ebm i ndikimit t\u00eb tij n\u00eb t\u00eb tashmen.<\/p>\n<p>P\u00ebrpos karaktereve t\u00eb komplikuar, ka edhe disa elemente t\u00eb caktuara strukturore n\u00eb film q\u00eb kombinohen dhe mund\u00ebsojn\u00eb krijimin e k\u00ebtij homazhi. Muzika q\u00eb filmi p\u00ebrdor \u00ebsht\u00eb po aq e r\u00ebnd\u00ebsishme sa peizazhet dhe personazhet, n\u00eb m\u00ebnyr\u00ebn se si ajo kombinohet me referenca ndaj nj\u00eb tradit\u00eb t\u00eb kinemas\u00eb si ashtu dhe t\u00eb let\u00ebrsis\u00eb shqiptare p\u00ebr t\u00eb arritur nj\u00eb pasqyrim nostalgjik gjat\u00eb gjith\u00eb tregimit. Melodit\u00eb e balladave t\u00eb viteve 1960 zakonisht shoq\u00ebrojn\u00eb Julin n\u00eb rrug\u00ebn e saj p\u00ebr n\u00eb pun\u00eb nd\u00ebrsa ajo udh\u00ebton n\u00ebp\u00ebr hap\u00ebsir\u00eb dhe v\u00ebshtron rrethinat, pra muzika n\u00eb k\u00ebto \u00e7ashte funksionon si nj\u00eb transmetues midis historis\u00eb, vendit, Julit dhe spektator\u00ebve. Apoteoza e k\u00ebsaj lidhje magjike vjen n\u00eb minutat e fundit t\u00eb filmit me k\u00ebr\u00e7imin e Nor\u00ebs i cili, n\u00eb kund\u00ebrshtim me skenat e heshtura q\u00eb hapin filmin, \u00ebsht\u00eb plot energji. Elementet vizuale dhe aurale e k\u00ebsaj skene finale kombinohen dhe prodhojn\u00eb nj\u00eb efekt ekstatik dhe ndihmojn\u00eb n\u00eb funksionimin terapeutik t\u00eb procezit kompleks t\u00eb tregimit q\u00eb tani po arrin n\u00eb fund. Ky proces i ofron spektator\u00ebve m\u00ebnyra alternative p\u00ebr t\u00eb kuptuar dhe ri-imagjinuar t\u00eb kaluar\u00ebn, dhe p\u00ebr t\u2019u pajtuar me t\u00eb n\u00eb nj\u00eb p\u00ebrpjekje p\u00ebr t\u00eb jetuar t\u00eb tashmen pa pendim ose dhimbje.<\/p>\n<p>N\u00eb lidhje me referencat ndaj tradit\u00ebs kinematografike, mbas prezantimit e Julit dhe Nojes, filmi kalon tek Nora dhe na e prezanton at\u00eb n\u00eb dhom\u00ebn e saj t\u00eb gjumit murret e t\u00eb cil\u00ebs jan\u00eb t\u00eb dekoruar me fotografi t\u00eb figurave fem\u00ebrore t\u00eb tradit\u00ebs ton\u00eb kinematografike, nj\u00eb tradit\u00eb n\u00eb t\u00eb cil\u00ebn Elvira Diamanti dhe personazhi i famsh\u00ebm i saj Marigo nga filmi P\u00ebrrall\u00eb nga e Kaluara (Dhimit\u00ebr Anagnosti, 1987) mban nj\u00eb vend qendror, gjithashtu dhe n\u00eb dhom\u00ebn e Nor\u00ebs. Filmi zbulon haptazi ndikimet e tij kulturore dhe p\u00ebrs\u00ebri d\u00ebshmon nd\u00ebrthurjen nd\u00ebrmjet t\u00eb kaluar\u00ebs dhe t\u00eb tashmes.<\/p>\n<p>Si p\u00ebrfundim, me karakterin e gjeneralit i ushtris\u00eb s\u00eb vdekur i cili \u00ebsht\u00eb klient i p\u00ebrditsh\u00ebm n\u00eb kafene\u00a0<em>Bota<\/em>\u00a0ku Juli punon, filmi i referohet vepr\u00ebs letrare t\u00eb Ismail Kadares\u00eb Gjenerali i ushtris\u00eb s\u00eb vdekur, nj\u00eb roman i botuar n\u00eb Tiran\u00eb n\u00eb 1963, dhe n\u00eb t\u00eb cilin Dhimit\u00ebr Anagnosti bazoi filmin e tij Kthimi i ushtris\u00eb s\u00eb vdekur (1989). Romani b\u00ebn fjal\u00eb p\u00ebr nj\u00eb gjeneral italian i cili shkon n\u00eb Shqip\u00ebri p\u00ebr t\u00eb k\u00ebrkuar eshtrat e ushtar\u00ebve italian q\u00eb ran\u00eb n\u00eb koh\u00ebn e pushtetit (madje n\u00eb nj\u00eb sken\u00eb Noja duket e ulur n\u00eb dhom\u00eb duke ndjekur skena nga filmi i adaptuar). N\u00eb t\u00eb nj\u00ebjt\u00ebn m\u00ebnyr\u00eb, gjenerali i filmit\u00a0<em>Bota<\/em>\u00a0p\u00ebrfundimisht zbulon eshtrat e t\u00eb j\u00ebm\u00ebs t\u00eb Julit pik\u00ebrisht n\u00eb kampin ku kafeneja<em>\u00a0Bota<\/em>\u00a0q\u00ebndron, dhe e gjen Julin p\u00ebr t\u2019i zbuluar asaj gjith\u00eb t\u00eb v\u00ebrtet\u00ebn se si e \u00ebma e saj Alba \u2018u ekzekutua p\u00ebr veprimtari armiq\u00ebsore kund\u00ebr partis\u00eb dhe shtetit\u2019. P\u00ebr her\u00eb t\u00eb par\u00eb Juli kupton se kush\u00ebriri i saj Beni ka p\u00ebrfituar nga shp\u00ebrblimi financiar p\u00ebr njer\u00ebzit e ekzikutuar dhe Nora, e cila \u00ebsht\u00eb shtatz\u00ebn\u00eb me f\u00ebmij\u00ebn e Benit, ka qen\u00eb n\u00eb dijeni p\u00ebr k\u00ebt\u00eb. Pik\u00ebrisht kjo njohuri, zbulimi i k\u00ebsaj t\u00eb v\u00ebrtete e shtyn Julin t\u00eb largohet nga ky vend n\u00eb k\u00ebrkim t\u00eb nj\u00eb jete t\u00eb re. Pra, qe transformimi i saj nga nj\u00eb v\u00ebzhguese n\u00eb nj\u00eb pjes\u00ebmarr\u00ebse aktive q\u00eb shkaktoi ikjen e saj.<\/p>\n<p>N\u00eb nivel personal dhe kolektiv, vjen n\u00eb k\u00ebt\u00eb moment katarza qe spektator\u00ebt kan\u00eb pritur. Pra, patosi i traum\u00ebs dhe i historis\u00eb p\u00ebrfundon n\u00eb nj\u00eb rreth t\u00eb plot\u00eb nga i cili Juli,\u00a0<em>Bota<\/em>, dhe spektator\u00ebt dalin t\u00eb d\u00ebmtuar por ende m\u00eb t\u00eb gjall\u00eb se kurr\u00eb.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<\/div>\n<div class=\"news-right\">\n<div class=\"post\">\n<p class=\"author\">\n<\/div>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>Vall\u00ebzimi i zjarrt\u00eb i Nor\u00ebs n\u00eb mes t\u00eb shkret\u00ebtir\u00ebs me nj\u00eb melodi nostalgjike t\u00eb s\u00eb kaluar\u00ebs q\u00eb p\u00ebrfundon filmin\u00a0Bota\u00a0(Iris Elezi &amp; Thomas Logoreci, 2014) krijon nj\u00eb imazh shum\u00eb t\u00eb ndikuesh\u00ebm q\u00eb gjall\u00ebrisht kap imagjinat\u00ebn e spektator\u00ebve, i ndjek dhe i \u00e7liron ata n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb. Imazhi i saj n\u00eb l\u00ebvizje \u2013 pik\u00ebrisht si nj\u00eb [&hellip;]<\/p>","protected":false},"author":414,"featured_media":10000,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[1757],"ppma_author":[773],"class_list":["post-4173","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-filmi-bota"],"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\/sr\/wp-json\/wp\/v2\/posts\/4173","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=4173"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4173\/revisions"}],"predecessor-version":[{"id":10001,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4173\/revisions\/10001"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/10000"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=4173"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=4173"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=4173"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=4173"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}