{"id":4187,"date":"2018-03-13T12:00:22","date_gmt":"2018-03-13T10:00:22","guid":{"rendered":"https:\/\/sbunker.org\/?p=4187"},"modified":"2024-11-08T12:03:08","modified_gmt":"2024-11-08T10:03:08","slug":"mbi-pervjetorin-e-gjashtedhjete-te-filmit-artistik-shqiptar-1958-2018","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/mbi-pervjetorin-e-gjashtedhjete-te-filmit-artistik-shqiptar-1958-2018\/","title":{"rendered":"Mbi p\u00ebrvjetorin e gjasht\u00ebdhjet\u00eb t\u00eb filmit artistik shqiptar: 1958-2018"},"content":{"rendered":"
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Si nj\u00eb studiuese e re e filmit, por edhe si nj\u00eb emigrante shqiptare, ndihem krejt e habitur dhe e emocionuar nga njohuria e re p\u00ebr mua se Shqip\u00ebria ka nj\u00eb trash\u00ebgimi t\u00eb pasur dhe t\u00eb mrekullueshme t\u00eb filmit, sidomos duke pasur parasysh se p\u00ebr 20 vitet e fundit t\u00eb jet\u00ebs sime koncepti im i Shqip\u00ebris\u00eb \u00ebsht\u00eb formuar kryesisht nga pik\u00ebpamja stereotipike, e formuluar nga diskursi jokomb\u00ebtar. Edhe pse kam shikuar dhjet\u00ebra her\u00eb dy filmat e Piro Milkanit\u00a0Zonja nga Qyteti\u00a0<\/em>(1976) dhe\u00a0Nj\u00eb shoqe nga fshati<\/em>\u00a0(1980), t\u00eb cil\u00ebt deri koh\u00ebt e fundit kan\u00eb qen\u00eb edhe t\u00eb vetmit filma shqiptar\u00eb n\u00eb repertorin tim, studimet e mia akademike u drejtuan dhe u p\u00ebrqendruan, n\u00eb t\u00eb kund\u00ebrt\u00ebn, tek filmi i Hollivudit. Nd\u00ebrsa lexoj faqe pas faqe t\u00eb librave t\u00eb historis\u00eb s\u00eb filmit, emri Shqip\u00ebri nuk mund t\u00eb gjendej askund. K\u00ebshtu, deri n\u00eb k\u00ebt\u00eb moment un\u00eb kam qen\u00eb n\u00eb p\u00ebrshtypjen e rreme se nuk ka shum\u00eb p\u00ebr t\u2019u impresionuar nga toka e shqiponjave.<\/p>\n

Megjithat\u00eb, jam me t\u00eb v\u00ebrtet\u00eb e impresionuar! Kam arritur n\u00eb t\u00eb kuptuarit se, n\u00ebse Hollivudi krenohet me emra t\u00eb gjigant\u00ebve dhe tituj intrigues si p. sh.\u00a0Double Indemnity<\/em>\u00a0(1944) dhe\u00a0Sunset Boulevard\u00a0<\/em>(1950) nga Billy Wilder,\u00a0Rear Window<\/em>\u00a0(1954) dhe\u00a0Vertigo<\/em>\u00a0(1958) nga\u00a0Alfred Hitchcock,\u00a0The Searchers<\/em>\u00a0(1956) i John Ford,\u00a0Gentlemen Prefer Blondes<\/em>\u00a0(1953) dhe\u00a0Rio Bravo<\/em>\u00a0(1959) nga Howard Hawks,\u00a0Stella Dallas<\/em>\u00a0(1937),\u00a0Gilda<\/em>\u00a0(1946),\u00a0Streetcar Named Desire<\/em>\u00a0(1951) dhe dhjet\u00ebra t\u00eb tjer\u00eb, kinematografia shqiptare p\u00ebrb\u00ebhet nga thesaret e saj mbres\u00ebl\u00ebn\u00ebs, t\u00eb fshehur, t\u00eb shp\u00ebrfillur dhe fatkeq\u00ebsisht t\u00eb rrezikuar p\u00ebr shum\u00eb vite. N\u00eb vitet 1950, kinemaja shqiptare lindi titujt dhe emrat e saj t\u00eb filmit artistik, me t\u00eb cil\u00ebt hapi dyert p\u00ebr nj\u00eb tradit\u00eb t\u00eb filmit q\u00eb do t\u00eb regjistronte p\u00ebrvoj\u00ebn traumatike shqiptare me pasion, zell dhe p\u00ebrkushtim.<\/p>\n

Viti 2018 sh\u00ebnon 60 vjet nga viti kur filmi shqiptar i par\u00eb artistik, i realizuar nga artist\u00eb shqiptar\u00eb \u00a0arriti n\u00eb ekranin e madh, n\u00eb Tiran\u00eb, n\u00eb shtator t\u00eb 1958 dhe magjepsi audiencat me hijeshin\u00eb, sharmin, dhe efektin emocional t\u00eb drejtp\u00ebrdrejtsh\u00ebm q\u00eb ai krijoi.\u00a0Tana\u00a0<\/em>me regji t\u00eb Kristaq Dhamos, i bazuar tek novela \u2018Tana<\/em>\u2019 e Fatmir Gjat\u00ebs, mund t\u00eb thuhet se sinjalizoi nj\u00eb moment historik n\u00eb t\u00eb cilin Shqip\u00ebria manifestoi the konfirmoi shembujt e par\u00eb t\u00eb elementeve q\u00eb do t\u00eb kontribuonin n\u00eb \u00a0retorik\u00ebn e saj vizuale \u2013 figura qendrore e pun\u00ebtorit, shoq\u00ebria rurale si shoq\u00ebri ideale, tematika e dashuris\u00eb dhe ngadh\u00ebnjimi i s\u00eb mir\u00ebs mbi t\u00eb keqen n\u00eb betej\u00ebn e tyre melodramatike t\u00eb p\u00ebrjetshme, etj. \u00cbsht\u00eb nj\u00eb gjuh\u00eb vizuale e cila do t\u00eb ilustronte p\u00ebrmbajtje t\u00eb caktuara n\u00ebp\u00ebrmjet nj\u00eb forme t\u00eb caktuar. Edhe pse kritiku Julian Bejko \u00ebsht\u00eb shprehur n\u00eb v\u00ebllimin studimor \u2018Shoq\u00ebria e Kinemas\u00eb I\u2019 (2012) se \u2018n\u00eb kineman\u00eb ton\u00eb … kjo gjuh\u00eb e imazhit q\u00eb vjen p\u00ebrmes teknik\u00ebs s\u00eb xhirimit \u00ebsht\u00eb relativisht i vak\u00ebt… studiuesi i filmit… \u00ebsht\u00eb i detyruar t\u00eb merret m\u00eb tep\u00ebr me p\u00ebrmbajtjen sesa me teknik\u00ebn\u2019 (27), filmi\u00a0Tana<\/em>\u00a0(dhe m\u00eb von\u00eb filmi Furtuna i vitit 1959), tregon nj\u00eb drejtim paksa t\u00eb ndrysh\u00ebm, m\u00eb pozitiv, n\u00ebp\u00ebrmes figurave dhe teknikave t\u00eb filmimit. Sepse, pik\u00ebrisht raporti midis p\u00ebrmbajtjes\/tem\u00ebs dhe form\u00ebs\/teknik\u00ebs \u00ebsht\u00eb i till\u00eb, q\u00eb \u00c7do diskutim i tem\u00ebs domosdoshm\u00ebrisht t\u00eb shoq\u00ebrohet me referenca n\u00eb form\u00ebn \/ stilin \/ teknik\u00ebn. N\u00eb fakt, e gjith\u00eb kinemaja \u00ebsht\u00eb stil, pik\u00ebrisht sepse \u00e7do tematik\u00eb duhet t\u00eb shprehet n\u00eb nj\u00eb form\u00eb apo n\u00eb nj\u00eb tjet\u00ebr. At\u00ebher\u00eb, mund t\u00eb sugjerojm\u00eb se \u00e7do supozim i form\u00ebs si inferiore ndaj p\u00ebrmbajtjes \u00ebsht\u00eb i gabuar dhe kund\u00ebrproduktiv.<\/p>\n

Nd\u00ebrkaq, p\u00ebrpar\u00ebsi n\u00eb vitet mbas 1950 n\u00eb fush\u00ebn e kritik\u00ebs s\u00eb filmit (dhe m\u00eb von\u00eb n\u00eb studimet akademike t\u00eb filmit, kur Film Studies u krijua si nj\u00eb disiplin\u00eb e re n\u00eb vendet per\u00ebndimore), mori ekzaltimi i regjisorit si autori n\u00eb krye t\u00eb krijes\u00ebs filmike. Koncepti i autorit, i filmit u b\u00eb dominues p\u00ebr shkak t\u00eb val\u00ebs s\u00eb re n\u00eb Franc\u00eb, p\u00ebr t\u00eb qen\u00eb m\u00eb preciz fal\u00eb kritik\u00ebve te Cahier du Cinema t\u00eb cilit shpreheshin p\u00ebr filmin dhe pozicionin e regjisorit n\u00eb artin e filmit n\u00eb m\u00ebnyr\u00eb q\u00eb m\u00eb s\u00eb shumti manifestonte sesi ata vet\u00eb konceptonin rolin e regjisorit, se si ata vet\u00eb d\u00ebshironin t\u00eb kishin mund\u00ebsi t\u00eb realizonin filma. Paranoja ndaj konceptit t\u00eb autorit filmik, nga neorealist\u00ebt n\u00eb vala e re, e sinjalizuar nga shkrimet n\u00eb Cahiers, dhe n\u00eb Movie i Anglis\u00eb, u kulminua n\u00eb studimin-Bibla e studimeve filmike t\u00eb Andrew Sarris \u2018The American Cinema: Directors Directions 1929 \u2013 1968, i botuar n\u00eb 1968. (Kjo k\u00ebmb\u00ebngulje e ides\u00eb s\u00eb autorit ka rezultuar n\u00eb nj\u00eb kult personaliteti q\u00eb \u00ebsht\u00eb e dukshme edhe n\u00eb k\u00ebto dit\u00eb n\u00eb t\u00eb cilat emri i regjisorit \u00ebsht\u00eb shnd\u00ebrruar n\u00eb nj\u00eb shenj\u00eb vlere n\u00eb bot\u00ebn e filmit).<\/p>\n

Megjithat\u00eb, n\u00eb rastin e kinemas\u00eb shqiptare, mund edhe t\u00eb shprehet pyetja a ka ndonj\u00eb vlefshm\u00ebri n\u00eb diskutimin e autor\u00ebsis\u00eb filmike n\u00eb nj\u00eb sistem shtet\u00ebror, i cili pun\u00ebson artin e filmit si propagand\u00eb? N\u00ebse ndjekim dhe pajtohemi me modelin e kritikut Andrew Sarris i cili vler\u00ebson se pik\u00ebrisht aft\u00ebsia e regjisorit p\u00ebr t\u00eb kap\u00ebrcyer rregullimet kufizuese sistemike dhe sistematike dhe t\u00eb prodhoj\u00eb nj\u00eb n\u00ebnshkrim autorial n\u00eb pun\u00ebn e tij, at\u00ebher\u00eb mund t\u00eb sugjerojm\u00eb me siguri dhe krenari q\u00eb regjisor\u00ebt shqiptar\u00eb t\u00eb epok\u00ebs totalitare bien shum\u00eb mir\u00eb n\u00eb kategorin\u00eb e auteur \u2013it. Tri gjenerata regjisor\u00ebsh n\u00eb shekullin XX \u2013 nga artistja e madhe Xhanfise Keko dhe Kristaq Dhamo, tek Saimir Kumbaro, dhe m\u00eb von\u00eb tek Vladimir Prifti \u2013 kan\u00eb filmuar me zell tregime p\u00ebr shoq\u00ebrin\u00eb shqiptare, t\u00eb cilit edhe pse punonin n\u00ebn rubrikat ideologjike t\u00eb realizmit socialist, ata arrit\u00ebn t\u00eb portretizonin realitete q\u00eb shkojn\u00eb p\u00ebrtej sip\u00ebrfaqeve dhe iu paraqit\u00ebn publikut me filma nga m\u00eb t\u00eb bujshmit. Saj\u00eb kufizimeve t\u00eb shprehjes s\u00eb lir\u00eb, artist\u00ebt ri-imagjinonin nj\u00eb gjuh\u00eb t\u00eb re vizuale, e cila u zhvillua si mjet komunikimi me publikun dhe p\u00ebr t\u00eb stimuluar tek ata nj\u00eb identifikim kolektiv p\u00ebrmes nj\u00eb korpusi filmash q\u00eb asimilohen p\u00ebrher\u00eb.<\/p>\n

Bashk\u00ebskenaristi i filmit\u00a0Tana<\/em>, Nasho Jorgaqi, \u00ebsht\u00eb shprehur se \u2018nuk e harroj ceremonin\u00eb e premier\u00ebs s\u00eb filmit n\u00eb shtator 1958, q\u00eb u b\u00eb n\u00eb nj\u00eb nga kinemat\u00eb kryesore t\u00eb Tiran\u00ebs, publikun q\u00eb duartrokiste plot emocion, fjal\u00ebt e mira q\u00eb u than\u00eb p\u00ebr filmin si nj\u00eb ngjarje gati historike, q\u00eb \u00e7elte shtegun e artit t\u00eb shtat\u00eb n\u00eb kultur\u00ebn ton\u00eb komb\u00ebtare… Tana p\u00ebrb\u00ebnte dall\u00ebndyshen ton\u00eb t\u00eb par\u00eb q\u00eb sado krah\u00eb dob\u00ebt, ishte me k\u00ebmb\u00eb t\u00eb mbar\u00eb p\u00ebr ekranin e virgj\u00ebr shqiptar\u2019 (Tirana Observer, 2014).\u00a0Tana<\/em>\u00a0\u00ebsht\u00eb nj\u00eb tregim plot me skena me vler\u00eb t\u00eb qart\u00eb vizuale, t\u00eb cilat sigurojn\u00eb komunikimin intelektual me spektator\u00ebt: ndikimi i nd\u00ebrsjell\u00ebt i l\u00ebvizjeve dinamike t\u00eb kamer\u00ebs, elementit muzikor dhe elementit njer\u00ebzor, p\u00ebrfundimisht prodhuan at\u00eb q\u00eb Abdurrahim Myftiu e quajti \u2018si nj\u00eb p\u00ebrvoj\u00eb fillestare e k\u00ebndshme, si t\u00ebr\u00ebsi p\u00ebrpjekjesh p\u00ebr t\u00eb mbushur ekranin me jet\u00eb, si zbatim m\u00ebsimesh nga shkolla dhe ekrani i huaj, si p\u00ebrpjekje entuziaste kineast\u00ebsh t\u00eb rinj\u2019 (2002:15).<\/p>\n

\u00cbsht\u00eb e r\u00ebnd\u00ebsishme t\u00eb theksohet fakti se filmi i par\u00eb artistik shqiptar u titullua sipas personazhit kryesor Tana, nj\u00eb figur\u00eb fem\u00ebrore n\u00eb t\u00eb cil\u00ebn audiencat, ndoshta n\u00eb nj\u00eb nivel t\u00eb pand\u00ebrgjegjsh\u00ebm, p\u00ebrjetuan nj\u00eb ideal \u2018proto-feminist\u2019 i cili sinjalizoi q\u00ebndrimin qendror t\u00eb grave n\u00eb filmin shqiptar n\u00eb vitet e ardhshme \u2013 si para kamer\u00ebs ashtu edhe mbrapa kamer\u00ebs. P\u00ebr m\u00eb tep\u00ebr, \u00ebsht\u00eb po aq e r\u00ebnd\u00ebsishme t\u00eb theksohet se pik\u00ebrisht titullimi dhe q\u00ebndrimi i filmit n\u00eb imagjinat\u00ebn e publikut si kryesisht filmi i Tan\u00ebs dhe jo filmi i regjisorit, d\u00ebshmon haptazi se diskutime rreth autor\u00ebsis\u00eb filmike duhet t\u00eb b\u00ebhen m\u00eb p\u00ebrfshir\u00ebse t\u00eb faktor\u00ebve t\u00eb ndrysh\u00ebm q\u00eb kontribuojn\u00eb n\u00eb rezultatin e p\u00ebrgjithsh\u00ebm. Performanca e Tina Kurtit n\u00eb fakt pretendon po aq autorizim mbi filmin sa regjia e Kristaq Dhamos. Ajo q\u00ebndron n\u00eb krye t\u00eb tregimit me nj\u00eb v\u00ebrtet\u00ebsi q\u00eb \u00ebsht\u00eb krejt autentike dhe e af\u00ebrt me realitetin e popullit. N\u00eb m\u00ebnyr\u00eb t\u00eb ngjashme, personazhet fem\u00ebrore n\u00eb filmin shqiptar q\u00eb pasuan pas Tan\u00ebs, megjith\u00ebse mish\u00ebronin rolet kryesor\u00eb t\u00eb n\u00ebn\u00ebs dhe gruas – q\u00eb i p\u00ebrkasin identitetit fem\u00ebror sipas konsensusit t\u00eb p\u00ebrgjithsh\u00ebm – treguan edhe nj\u00eb nivel tjet\u00ebr realiteti, n\u00eb imazhet e grave n\u00eb luft\u00eb kund\u00ebr armikut t\u00eb huaj, grat\u00eb n\u00eb kontekstin publik t\u00eb pun\u00ebs, dhe gra q\u00eb vler\u00ebsonin miq\u00ebsin\u00eb fem\u00ebrore po aq sa martes\u00ebn dhe am\u00ebsin\u00eb. Si\u00e7 tregon Abaz Hoxha n\u00eb komentet e tij\u00a0Vajza t\u00eb para n\u00eb filmin shqiptar<\/em>, \u2018Ato dhan\u00eb shembullin e emancipimit dhe p\u00ebrkushtimit, ato d\u00ebshmuan personalitetin e gruas dhe aft\u00ebsit\u00eb e saj edhe n\u00eb k\u00ebt\u00eb fush\u00eb t\u00eb artit q\u00eb u krijua nga e para, ato e p\u00ebrjet\u00ebsuan personalitetin e tyre n\u00eb qindra filma dokumentar\u00eb, artistik\u00eb, dhe t\u00eb animuar, ato u shnd\u00ebrruan n\u00eb dall\u00ebndyshen e par\u00eb t\u00eb k\u00ebtij arti t\u00eb ri \u2013 kinematografis\u00eb\u2019 (2017). [Megjithat\u00eb, filmi artistik shqiptar n\u00eb mas\u00eb t\u00eb madhe harroi dhe diskualifikoi identitetin e saj seksual pik\u00ebrisht q\u00eb n\u00eb k\u00ebt\u00eb moment t\u00eb par\u00eb t\u00eb filmit artistik, por kjo \u00ebsht\u00eb nj\u00eb tem\u00eb e cila duhet diskutuar ve\u00e7mas].<\/p>\n

Tani mjafton t\u00eb thuhet se\u00a0Tana\u00a0<\/em>nuk ishte vet\u00ebm filmi i par\u00eb artistik, por edhe shkalla e par\u00eb e nj\u00eb portretizimi fem\u00ebror mjaft pozitiv p\u00ebr kontekstin shoq\u00ebror t\u00eb koh\u00ebs. Me rastin e p\u00ebrvjetorit t\u00eb gjasht\u00ebdhjet\u00eb t\u00eb filmit artistik shqiptar, dhe me rastin e dit\u00ebs nd\u00ebrkomb\u00ebtare t\u00eb grave, le t\u00eb festojm\u00eb gjithashtu imazhin dhe trash\u00ebgimin\u00eb e nj\u00eb gruaje e cila \u00ebsht\u00eb n\u00ebna e kinemas\u00eb shqiptare: Tinka Kurti.<\/p>\n<\/div>\n

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Si nj\u00eb studiuese e re e filmit, por edhe si nj\u00eb emigrante shqiptare, ndihem krejt e habitur dhe e emocionuar nga njohuria e re p\u00ebr mua se Shqip\u00ebria ka nj\u00eb trash\u00ebgimi t\u00eb pasur dhe t\u00eb mrekullueshme t\u00eb filmit, sidomos duke pasur parasysh se p\u00ebr 20 vitet e fundit t\u00eb jet\u00ebs sime koncepti im i Shqip\u00ebris\u00eb […]<\/p>","protected":false},"author":414,"featured_media":9935,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[1750],"ppma_author":[773],"class_list":["post-4187","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-filmi-artistik-shqiptar"],"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\/4187","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=4187"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4187\/revisions"}],"predecessor-version":[{"id":9936,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4187\/revisions\/9936"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/9935"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=4187"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=4187"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=4187"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=4187"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}