{"id":4566,"date":"2015-10-13T16:50:49","date_gmt":"2015-10-13T14:50:49","guid":{"rendered":"https:\/\/sbunker.org\/?p=4566"},"modified":"2024-12-13T16:54:41","modified_gmt":"2024-12-13T14:54:41","slug":"fuqia-e-imazhit","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/analize\/fuqia-e-imazhit\/","title":{"rendered":"Fuqia e Imazhit"},"content":{"rendered":"

Vet\u00ebm arti \u00ebsht\u00eb i dobish\u00ebm.<\/em><\/p>\n

\n
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Fet\u00eb, ushtrit\u00eb, perandorit\u00eb: gjith\u00e7ka kalon.
\nVet\u00ebm arti mbetet, prandaj arti shihet: sepse zgjat.<\/em><\/p>\n

Fernando Pessoa<\/p>\n

Imazhi \u00ebsht\u00eb nj\u00eb nga format m\u00eb t\u00eb fuqishme t\u00eb komunikimit q\u00eb n\u00eb dit\u00ebt e sotme ka marr\u00eb p\u00ebrmasa pothuajse gjith\u00ebp\u00ebrfshir\u00ebse. Fuqia q\u00eb rrezaton imazhi \u00ebsht\u00eb aq e madhe sa q\u00eb shpesh na determinon edhe t\u00eb menduarit. Pothuajse n\u00eb shumic\u00ebn e rasteve fuqia q\u00eb transmeton nj\u00eb imazh i thjesht\u00eb \u00ebsht\u00eb duksh\u00ebm m\u00eb ndikuese sesa nd\u00ebrtimi i argumentit teorik. Madje edhe psikanaliza na shpjegon r\u00ebnd\u00ebsin\u00eb dhe fuqin\u00eb q\u00eb kan\u00eb imazhet n\u00eb psik\u00ebn ton\u00eb. Simbolika e nj\u00eb p\u00ebrjetimi t\u00eb till\u00eb n\u00eb psik\u00ebn ton\u00eb fiksohet si nj\u00eb imazh i cili \u2018na bllokon\u2019, si\u00e7 shprehet Lacan-i. Madje ai shton se: \u201cImazhi \u00ebsht\u00eb vendi ku \u00ebsht\u00eb i pron\u00ebsuar kuptimi, tanim\u00eb i strukturuar n\u00eb procesin psikologjik, duke i sh\u00ebrbyer si agjens i afektit, fantazis\u00eb dhe kuptimit t\u00eb zhvendosur\u201c. Pra, si\u00e7 v\u00ebrejm\u00eb, imazhi n\u00eb psikanaliz\u00eb \u00ebsht\u00eb m\u00eb tep\u00ebr se dukje edhe at\u00ebher\u00eb kur vizuelizimi imagjinar \u00ebsht\u00eb n\u00eb nj\u00eb lidhje t\u00eb avancuar, por q\u00eb sfidon formimin dhe rolin e imazhit n\u00eb psik\u00ebn ton\u00eb. Historit\u00eb, ngjarjet tona transmetohen dhe ritransmetohen n\u00ebp\u00ebrmjet imazheve. Portretizimi q\u00eb i b\u00ebhet imazhit si t\u00eb till\u00eb \u00ebsht\u00eb, sepse ai \u00e7doher\u00eb na t\u00ebrheq, na provokon, pavar\u00ebsisht q\u00eb ai \u00e7doher\u00eb \u00ebsht\u00eb n\u00eb nj\u00eb gjendje t\u00eb qet\u00eb. N\u00ebse do ta interpretonim lidhjen ton\u00eb me imazhin, at\u00ebher\u00eb ajo do t\u00eb ishte e nj\u00eb forme shum\u00eb specifike, e ve\u00e7ant\u00eb dhe shum\u00eb intime. Jo rast\u00ebsisht Jean-Luc Nancy shprehet: \u201cimazhi \u00e7doher\u00eb \u00ebsht\u00eb i shenjt\u00eb\u201d. Jo \u201ci shenjt\u00eb\u201d n\u00eb kuptimin religjoz, por i shenjt\u00eb n\u00eb fuqin\u00eb e tij transmetuese, n\u00eb fiksimin dhe transmetimin e momentit.<\/p>\n

Po \u00e7ka \u00ebsht\u00eb imazhi n\u00eb art, konkretisht n\u00eb kinema? Cilat jan\u00eb karakteristikat e tij? Un\u00eb mendoj se, po aq sa arti e shpreh veten n\u00ebp\u00ebrmjet imazhit, po aq imazhi e shpreh veten n\u00ebp\u00ebrmjet artit. Dometh\u00ebn\u00eb, atribut i nj\u00eb vepre arti \u00ebsht\u00eb edhe imazhi, sikurse shprehje e nj\u00eb imazhi jan\u00eb cil\u00ebsit\u00eb e tij artistike. Nj\u00eb shpjegim t\u00eb till\u00eb t\u00eb k\u00ebsaj lidhjeje inherente art\/imazh n\u00eb nj\u00ebfar\u00eb mase na e ofron kinemaja. Pra, pjes\u00ebt p\u00ebrb\u00ebr\u00ebse t\u00eb kinemas\u00eb jan\u00eb si arti, ashtu dhe imazhi. Mbase, relevanca e kinemas\u00eb \u00ebsht\u00eb e mb\u00ebshtetur thuajse n\u00eb k\u00ebto dy elemente. Fuqia e kinemas\u00eb n\u00eb t\u00eb shumt\u00ebn e rasteve \u00ebsht\u00eb e vendosur pik\u00ebrisht p\u00ebr shkak t\u00eb fuqis\u00eb s\u00eb imazhit. Studiuesi i kinemas\u00eb, Andre Bazin, duke shpjeguar ontologjin\u00eb e imazhit fotografik, pohon se p\u00ebr aq sa \u201cvirtualitetet estetike t\u00eb fotografis\u00eb q\u00ebndrojn\u00eb n\u00eb zbulimin e realitetit\u201d, po aq edhe \u201cimazhi i gj\u00ebrave p\u00ebr her\u00eb t\u00eb par\u00eb ka dhe koh\u00ebrrjedhje t\u00eb gj\u00ebrave\u201d. Dometh\u00ebn\u00eb, p\u00ebrderisa imazhi fotografik piketon n\u00eb m\u00ebnyr\u00eb arbitrare nj\u00eb moment t\u00eb caktuar t\u00eb nj\u00eb ngjarjeje, ku edhe ne thuajse na fut n\u00eb nj\u00eb form\u00eb ta caktuar interpretuese, imazhi filmik (kinematografik) n\u00ebp\u00ebrmjet shum\u00ebsis\u00eb frematike na mund\u00ebson edhe nj\u00eb shum\u00ebsi jodiferencuese interpretative t\u00eb nj\u00eb ngjarjeje, apo fenomeni t\u00eb caktuar. Ta z\u00ebm\u00eb se vet\u00ebm edhe nj\u00ebher\u00eb t\u00eb vetme e hedhim shikim sip\u00ebrfaq\u00ebsisht mbi t\u00eb shkuar\u00ebn, n\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb mundohemi t\u00eb kujtojm\u00eb momentet m\u00eb t\u00eb ndjeshme t\u00eb jest\u00ebs son\u00eb, ne do t\u00eb gjendemi p\u00ebrball\u00eb ve\u00e7antive t\u00eb atyre ngjarjeve. Ky partikularitet \u00ebsht\u00eb nj\u00eb tregues i dominimit thuajse t\u00eb \u00e7do momenti t\u00eb ekzistenc\u00ebs son\u00eb. Prandaj, artisti \u00e7doher\u00eb orvatet p\u00ebr t\u00eb kuptuar k\u00ebt\u00eb moment dhe p\u00ebr ta mish\u00ebruar at\u00eb n\u00eb form\u00eb t\u00eb atill\u00eb sa q\u00eb imazhin q\u00eb ndjek ta b\u00ebj\u00eb pjes\u00eb t\u00eb nj\u00eb momenti t\u00eb ekzistenc\u00ebs s\u00eb tij. Madje, Bazini pohon se \u201cimazhi natyror i nj\u00eb bote q\u00eb as nuk e dinim dhe as nuk mund ta shihnim, na tregon fuqin\u00eb q\u00eb natyra m\u00eb n\u00eb fund b\u00ebn m\u00eb tep\u00ebr se imitim arti: ajo imiton artistin\u201d. Pra, kjo inherenc\u00eb mes natyr\u00ebs si art dhe artistit mund\u00ebsohet n\u00ebp\u00ebmjet imazhit. Ky moment, sipas Bazinit, \u00ebsht\u00eb momenti i ontologjizimit t\u00eb imazhit.<\/p>\n

Pra, si\u00e7 v\u00ebrejm\u00eb, imazhet nuk jan\u00eb vet\u00ebm fiksime momentale, por ato jan\u00eb edhe momente konceptuale ku n\u00ebp\u00ebrmjet tyre nd\u00ebrtojm\u00eb forma t\u00eb ndryshme t\u00eb t\u00eb shprehurit. Nj\u00eb shpjegim p\u00ebr k\u00ebt\u00eb e ka dh\u00ebn\u00eb edhe Gilles Deleuze, n\u00eb librin e tij mbi kineman\u00eb, n\u00eb dy v\u00ebllime (Cinema 1: The Movement Image dhe Cinema 2: The Time-Image). Binomet e koncepteve t\u00eb ndryshme kinematografike, e q\u00eb Deleuze i paraqet si koha-imazhi, l\u00ebvizja-imazhi, perceptimi-imazhi, dashuria-imazhi, veprimi-imazhi etj., sipas tij, jan\u00eb forma konceptuale t\u00eb imazheve t\u00eb cilat korrespondojn\u00eb reciprokisht me nj\u00ebra-tjetr\u00ebn. Kjo shtrirje konceptuale imazhologjike q\u00eb na e paraqet Deleuze, \u00ebsht\u00eb formati rregullativ p\u00ebrmbajt\u00ebsor i ontologjizimit t\u00eb imazhit. Deleuze pohon se imazhi-koh\u00eb manifestohet kah fundi i Luft\u00ebs s\u00eb Dyt\u00eb Bot\u00ebrore, menj\u00ebher\u00eb pas kriz\u00ebs q\u00eb p\u00ebson imazhi-l\u00ebvizje (imazhi-l\u00ebvizje merret si prodhim i kinematografis\u00eb s\u00eb Hollywood-it). Kjo do t\u00eb thot\u00eb se tek imazhi-koh\u00eb nuk do t\u00eb ket\u00eb paraqitje kronologjike t\u00eb momenteve t\u00eb caktuara, sikurse tek imazhi-l\u00ebvizje, por sipas Deleuze \u201ckoha dhe kujtesa marrin nj\u00eb funksion t\u00eb ri\u201d – imazhi n\u00eb imazhin-koh\u00eb do t\u00eb ket\u00eb tani nj\u00eb shtrirje, bredhje n\u00eb koh\u00eb. Ky funksion i ri t\u00eb cilin na e prezanton Deleuze, fillon me neorealizmin n\u00eb kineman\u00eb italiane dhe m\u00eb von\u00eb edhe n\u00eb kineman\u00eb franceze q\u00eb njihet me emrin New Wave (\u00a0La Nouvelle Vague). Pra, neorealizmi italian n\u00eb kinema e futi konceptin e imazhit-koh\u00eb. Prandaj, n\u00eb filmat e neorealizmit dhe m\u00eb pas edhe n\u00eb filmat e New Wave-it francez, n\u00eb film ka endje n\u00eb koh\u00eb, shtrirje n\u00eb koh\u00eb. P\u00ebr shembull filmat e Rosselin-it, Antonioni-t, etj., pastaj filmat e Jean-Luc Godard-it etj., jan\u00eb shtrirjet e imazhit n\u00eb koh\u00eb. Kjo lloj kinemaje, ky lloj i t\u00eb b\u00ebrit film ndikoi n\u00eb transformim thuajse rr\u00ebnj\u00ebsor t\u00eb estetik\u00ebs kinematografike. Pra, imazhi-koh\u00eb mund\u00ebson kualitativisht paraqitje m\u00eb lucide t\u00eb estetik\u00ebs n\u00eb kinema.<\/p>\n

Kjo form\u00eb e re ku tani imazhi n\u00eb kinema ka nj\u00eb shtrirje n\u00eb koh\u00eb e b\u00ebn edhe m\u00eb t\u00eb kapshme hap\u00ebsir\u00ebn si realitet kinematografik. Pra, me avancimet teknologjike hap\u00ebsira merr nj\u00eb form\u00eb dhe karakter t\u00eb qen\u00ebsish\u00ebm n\u00eb imazhin-koh\u00eb. Bela Balazs duke shpjeguar form\u00ebn panoramike t\u00eb nj\u00eb filmi pohon: \u201cImazhi q\u00eb zhvendoset bashk\u00eb me aparatin n\u00eb l\u00ebvizje, e shoq\u00ebron spektatorin n\u00ebp\u00ebrmjet t\u00ebr\u00eb hap\u00ebsir\u00ebs reale t\u00eb sken\u00ebs\u201d. Dometh\u00ebn\u00eb, sipas Balazs-it, spektatori b\u00ebhet pjes\u00eb e k\u00ebsaj hap\u00ebsire, sepse, sipas tij, \u201cai prek me sy p\u00ebll\u00ebmb\u00eb p\u00ebr p\u00ebll\u00ebmb\u00eb mjedisin\u201d skenik. Pra n\u00eb k\u00ebt\u00eb imazh hap\u00ebsinor ne vendosemi n\u00eb nj\u00eb kuadrat arkitektonik shum\u00eb specifik, nga ku neve na mund\u00ebsohet q\u00eb t\u00eb l\u00ebvizim n\u00eb hap\u00ebsir\u00ebn e imazheve. K\u00ebtu kemi t\u00eb b\u00ebjm\u00eb m\u00eb imazhin jo historik, sepse k\u00ebtu kemi t\u00eb vendosura forma imazhologjike q\u00eb kan\u00eb kuptim, ose marrin kuptim, vet\u00ebm n\u00eb koh\u00ebn dhe hap\u00ebsir\u00ebn ekzistuese. Jo rast\u00ebsisht thuhet se nj\u00eb imazh ka kuptim vet\u00ebm n\u00eb kontekstin dhe hap\u00ebsir\u00ebn ku shprehet dhe se ai assesi nuk mund t\u00eb modifikohet n\u00ebp\u00ebr disa apo n\u00eb t\u00eb gjitha variantet e tjera – mbase tendenca e till\u00eb p\u00ebr shtrirjen e imazhit n\u00ebp\u00ebr koh\u00eb dhe hap\u00ebsira t\u00eb ndryshme ka prodhuar vet\u00ebm efekte mutative q\u00eb kan\u00eb rezultuar negativisht. Andaj, po ta parafrazojm\u00eb Kunder\u00ebn, lirisht mund t\u00eb themi se imazhi \u00ebsht\u00eb e kund\u00ebrta e Historis\u00eb.<\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Vet\u00ebm arti \u00ebsht\u00eb i dobish\u00ebm. Fet\u00eb, ushtrit\u00eb, perandorit\u00eb: gjith\u00e7ka kalon. Vet\u00ebm arti mbetet, prandaj arti shihet: sepse zgjat. Fernando Pessoa Imazhi \u00ebsht\u00eb nj\u00eb nga format m\u00eb t\u00eb fuqishme t\u00eb komunikimit q\u00eb n\u00eb dit\u00ebt e sotme ka marr\u00eb p\u00ebrmasa pothuajse gjith\u00ebp\u00ebrfshir\u00ebse. Fuqia q\u00eb rrezaton imazhi \u00ebsht\u00eb aq e madhe sa q\u00eb shpesh na determinon edhe t\u00eb […]<\/p>","protected":false},"author":266,"featured_media":11129,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13],"tags":[2052,954,2051],"ppma_author":[733],"class_list":["post-4566","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-analize","tag-arti","tag-filozofi","tag-imazhi"],"authors":[{"term_id":733,"user_id":266,"is_guest":0,"slug":"dritan-dragusha","display_name":"Dritan Dragusha","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2024\/10\/dritan.webp","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2024\/10\/dritan.webp"},"user_url":"","last_name":"Dragusha","first_name":"Dritan","description":"Dritan Dragusha \u00ebsht\u00eb i diplomuar n\u00eb filozofi, n\u00eb Universitetin e Prishtin\u00ebs. Dritani \u00ebsht\u00eb i fokusuar n\u00eb teori t\u00eb kultur\u00ebs dhe gjithashtu n\u00eb let\u00ebrsi, kinema dhe muzik\u00eb. Po ashtu, merret edhe me gazetari. \u00cbsht\u00eb kolumnist i rregullt n\u00eb platform\u00ebn online \"sbunker.net\". Ka qen\u00eb edhe m\u00ebsimdh\u00ebn\u00ebs i filozofis\u00eb dhe etik\u00ebs n\u00eb \"The British School Kosova\". Bashkautor n\u00eb projektin kulturor televiziv \"Filozofema\", n\u00eb Radio Televizionin e Kosov\u00ebs. Aktualisht Dritani \u00ebsht\u00eb autor dhe moderator i emisionit \"Prizma\", n\u00eb televizionin T7."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4566","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\/266"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=4566"}],"version-history":[{"count":4,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4566\/revisions"}],"predecessor-version":[{"id":11131,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4566\/revisions\/11131"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/11129"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=4566"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=4566"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=4566"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=4566"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}