{"id":4553,"date":"2015-10-11T11:33:35","date_gmt":"2015-10-11T09:33:35","guid":{"rendered":"https:\/\/sbunker.org\/?p=4553"},"modified":"2025-01-17T11:39:28","modified_gmt":"2025-01-17T09:39:28","slug":"chantal-akerman-vizite-e-pazakonshme","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/chantal-akerman-vizite-e-pazakonshme\/","title":{"rendered":"Chantal Akerman: Vizit\u00eb e pazakonshme"},"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>Regjisoren Chantal Akerman e takova n\u00eb n\u00ebntorin e vitit q\u00eb shkoi; isha ftu nga ambasada franceze p\u00ebr t\u00eb moderu nj\u00eb bised\u00eb mbi pun\u00ebn e saj n\u00eb kuad\u00ebr t\u00eb jav\u00ebs frankofone. Por plani yn\u00eb mori kahje tjet\u00ebr at\u00eb m\u00ebngjes. Sken\u00ebs s\u00eb vog\u00ebl t\u00eb Teatrit Komb\u00ebtar nuk i gjindej \u00e7el\u00ebsi. Pas nj\u00eb ore telefonatash t\u00eb pasukseshme, drejtori (i at\u00ebhersh\u00ebm) e theu der\u00ebn e sall\u00ebs p\u00ebr nderin ton\u00eb. Fatmir\u00ebsisht veshja e tij semi sportive i mbijetoi operacionit.Tani ishim brenda mir\u00ebpo problemet nuk kryheshin &#8211; projektori nuk punonte. Drejtori p\u00ebrfundimisht u lodh nga \u00e7\u00ebshtjet teknike. P\u00ebr ndonj\u00eb arsye vendosi se t\u00eb gjitha ngat\u00ebrresat i kishim shkaktu ne dhe meq\u00eb i erdhi m\u00eb leht\u00eb -m\u00eb sulmoi mua- sepse nuk e p\u00ebrktheja monologun e tij t\u00eb dehur t\u00eb m\u00ebngjesit p\u00ebr t\u00eb gjitha fajet q\u00eb i kishin organizator\u00ebt dhe miqt\u00eb nd\u00ebrkomb\u00ebtar at\u00eb dit\u00eb. Un\u00eb n\u00eb fakt ndoshta edhe do ta p\u00ebrktheja, por m\u2019kishte hesht\u00eb turpi, sepse Chantal Akerman dhe publiku ishin aty me ne gjat\u00eb gjith\u00eb k\u00ebtij cirkusi. Na shikonin.<\/p>\n<p>Sidoqoft\u00eb, Akerman nuk lejoi q\u00eb takimi me publikun t\u00eb mbyllej hidh\u00ebt. Na ftoi t\u00eb gjith\u00ebve n\u00eb kafe pran\u00eb teatrit &#8211; duke mos e dijt\u00eb se kjo \u00ebsht\u00eb sht\u00ebpi e natyrshme e dijes p\u00ebr \u00e7do kosovar. \u00c7udit\u00ebrisht, kjo dit\u00eb me gjith\u00eb dramat saj, n\u00eb kok\u00eb m\u00eb \u00ebsht\u00eb palu si kujtim i fu\u00e7ish\u00ebm dhe para s\u00eb gjithash i k\u00ebndsh\u00ebm. Ka t\u00eb b\u00ebje me faktin se Akerman shpejt e vendosi nj\u00eb komunikim shum\u00eb intim n\u00eb tavolin\u00eb. Filloi me f\u00ebmijerin\u00eb dhe kjo mbeti tem\u00eb t\u00eb cil\u00ebs iu kthyem shpesh at\u00eb dit\u00eb. Prind\u00ebrit e Akerman ishin hebrej polak q\u00eb mbijetuan Hollokaustin p\u00ebr t\u00eb vazhdu betej\u00ebn e tyre n\u00eb Belgjik\u00eb. Akerman her\u00ebt zhvilloi nj\u00eb lidhje t\u00eb thell\u00eb me nan\u00ebn e cila shpesh \u00ebsht\u00eb subjekt n\u00eb filmat q\u00eb punoi duke p\u00ebrfshi edhe filmin e fundit No Home Movie (2015). Ishte vet\u00ebm 15 vje\u00e7are kur shikoi Pierrot le fou t\u00eb Jean Luc Godard dhe vendosi se imazhet jan\u00eb gjuha me t\u2019cil\u00ebn ajo do t\u00eb na flas\u00eb. Tre vjet m\u00eb von\u00eb e punon filmin e par\u00eb Blow Up My City, e braktis\u00eb shkoll\u00ebn e filmit dhe niset p\u00ebr New York. \u00cbsht\u00eb fundi i viteve \u201960 dhe frymat si Andy Warhol, Yvonne Rainer e Michael Snow e shlirojn\u00eb Akerman p\u00ebr t\u00eb rr\u00ebfyer at\u00eb q\u00eb nuk ishte pa n\u00eb kinema deri at\u00ebhere &#8211; gruan. Nd\u00ebrthurja e zanit natyral, kuadrave t\u00eb gjat\u00eb kujdesh\u00ebm t\u00eb organizum dhe grave n\u00eb ambijente kryesisht t\u00eb izoluara ku bajn\u00eb jet\u00ebn e tyne jospektakulare t\u00eb sh\u00ebrbtorit &#8211; mbeten ekslorim unik i Chantal Akerman. K\u00ebto gra deri n\u00eb at\u00eb moment nuk kan\u00eb ekzistu n\u00eb eknanin e madh sepse ato shkruheshin dhe drejtoheshin prej burrave andaj edhe luanin vet\u00ebm n\u00eb sh\u00ebrbim t\u00eb personazheve kryesore &#8211; burra. Kjo logjik\u00eb vazhdon te jet\u00eb valide edhe sot.<\/p>\n<p>Me 24 vjet e punon filmin Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) dhe shfaqet me t\u00eb n\u00eb Cannes. Aty obzervon Jeanne Dielman, t\u00eb vejen e nj\u00eb veterani lufte q\u00eb ka nj\u00eb djal\u00eb p\u00ebr t\u00eb cilin kujdeset. Anatomija e jet\u00ebs s\u00eb saj shqyrtohet vet\u00ebm brenda mureve t\u00eb sht\u00ebpis\u00eb ku jeton. Perditshm\u00ebria e Jeanne \u00ebsht\u00eb repetative. Aty gatuhet shum\u00eb, pastrohet shum\u00eb, dhe p\u00ebr mbijetes\u00eb shitet trupi i saj shpesh. Kjo narrativ\u00eb na gjen t\u00eb pa p\u00ebrgaditun sepse ajo duket si \u00e7do nan\u00eb e gjyshe elegante e konzervative q\u00eb e njohim. Andaj kurr\u00eb nuk e shohim n\u00eb shtrat gjat\u00eb seksit, e as kur vret klientin e saj, sepse Akerman na lejon t\u00eb shohim vet\u00ebm at\u00eb pjes\u00ebn e jet\u00ebs s\u00eb gruas ku nuk ndodh\u00eb asgj\u00eb. Ky film edhe sot mbetet nj\u00eb prej veprave m\u00eb t\u00eb r\u00ebnd\u00ebsishme kinematografike n\u00eb planet\u00eb. Gjithashtu sh\u00ebnon fillimin e shikitimt t\u00eb gruas n\u00eb film.<\/p>\n<p>Vizita e saj Prishtin\u00ebs, kryeqytetit q\u00eb sot ka vet\u00ebm nj\u00eb kinema, natyrisht se kaloi ashtu pav\u00ebrejtur me nj\u00eb incident provincial q\u00eb fatmir\u00ebsisht nuk perfundoi me pasoja. Lajmi p\u00ebr vdejkjen e saj k\u00ebt\u00eb jav\u00eb m\u00eb gjeti n\u00eb L.A. ku jo rrall\u00eb mendoj p\u00ebr t\u00eb p\u00ebrderisa e shikoj gruan amerikane n\u00eb media \u00e7do dit\u00eb duke k\u00ebrku drejt\u00ebsi n\u00eb industrin\u00eb q\u00eb e nd\u00ebrtoi me trupin e saj. Ato sot k\u00ebrkojn\u00eb hapsin\u00ebn e meritume pas nj\u00eb sheklulli pune ku historikisht paguhen m\u00eb pak, gjithashtu historikisht nuk kan\u00eb gra prapa kameres p\u00ebr t\u00eb shprishur narrativat tradicionale e formulaike. Nuk e di n\u00ebse Akerman ishte zgju shum\u00eb her\u00ebt apo bukuroshet e fjetura t\u00eb Hollywood\u2019it von\u00eb kuptuan se princi nuk vjen p\u00ebr ti zgjuar ato por \u00ebsht\u00eb aty p\u00ebr t\u00eb regjistru edhe nj\u00eb sken\u00eb t\u00eb paharrushme erotike p\u00ebr ekran e cila m\u00eb gjas\u00eb do t\u00eb shes biletat n\u00eb kinema k\u00ebt\u00eb vikend. Grat\u00eb n\u00eb Evrop\u00eb, n\u00eb an\u00ebn tjet\u00ebr, fal\u00eb Akerman k\u00ebt\u00eb mesazh e mor\u00ebn shum\u00eb her\u00ebt sepse ajo vet\u00ebdijsh\u00ebm intervenoi n\u00eb logjik\u00ebn e kujtes\u00ebs mbi to, duke dokumentu dhe shfaq\u00eb jet\u00ebn q\u00eb gruaja dhe t\u00eb margjinalizuarit e tjer\u00eb me shekuj nuk e b\u00ebjn\u00eb n\u00eb publik.<\/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>Regjisoren Chantal Akerman e takova n\u00eb n\u00ebntorin e vitit q\u00eb shkoi; isha ftu nga ambasada franceze p\u00ebr t\u00eb moderu nj\u00eb bised\u00eb mbi pun\u00ebn e saj n\u00eb kuad\u00ebr t\u00eb jav\u00ebs frankofone. Por plani yn\u00eb mori kahje tjet\u00ebr at\u00eb m\u00ebngjes. Sken\u00ebs s\u00eb vog\u00ebl t\u00eb Teatrit Komb\u00ebtar nuk i gjindej \u00e7el\u00ebsi. Pas nj\u00eb ore telefonatash t\u00eb pasukseshme, drejtori [&hellip;]<\/p>","protected":false},"author":631,"featured_media":12189,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[2385],"ppma_author":[2384],"class_list":["post-4553","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-chantal-akerman"],"authors":[{"term_id":2384,"user_id":631,"is_guest":0,"slug":"kaltrina-krasniqi","display_name":"Kaltrina Krasniqi","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2025\/01\/kaltrina_krasniqi_2023.jpg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2025\/01\/kaltrina_krasniqi_2023.jpg"},"user_url":"","last_name":"Krasniqi","first_name":"Kaltrina","description":"Kaltrina Krasniqi is an award-winning Kosovo based film director and researcher working in film and digital humanities since early 2000s."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4553","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\/631"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=4553"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4553\/revisions"}],"predecessor-version":[{"id":12190,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4553\/revisions\/12190"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/12189"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=4553"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=4553"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=4553"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=4553"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}