{"id":4657,"date":"2015-10-29T16:37:29","date_gmt":"2015-10-29T14:37:29","guid":{"rendered":"https:\/\/sbunker.org\/?p=4657"},"modified":"2024-12-13T16:42:09","modified_gmt":"2024-12-13T14:42:09","slug":"te-filozofuarit-me-ane-te-kinemase","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/analize\/te-filozofuarit-me-ane-te-kinemase\/","title":{"rendered":"T\u00eb filozofuarit me an\u00eb t\u00eb kinemas\u00eb"},"content":{"rendered":"

N\u00eb nj\u00eb bot\u00eb t\u00eb \u00e7mendur,<\/em><\/p>\n

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vet\u00ebm t\u00eb \u00e7mendurit jan\u00eb normal\u00eb.<\/em><\/p>\n

Akira Kurosawa<\/p>\n

Q\u00eb n\u00eb fillim t\u00eb k\u00ebtij ekskursi dua ta theksoj se tema e cila do t\u00eb trajtohet n\u00eb vazhdim, \u00ebsht\u00eb mjaft e gjer\u00eb dhe shum\u00eb dimensionale. Si e till\u00eb mendoj se \u00ebsht\u00eb e pamundur q\u00eb t\u00eb shpjegohet n\u00eb t\u00ebr\u00ebsin\u00eb e saj. Andaj, mendoj se kjo p\u00ebrpjekje k\u00ebtu do t\u00eb jet\u00eb si nj\u00eb tendenc\u00eb q\u00eb t\u00eb prek\u00eb, aq sa \u00ebsht\u00eb e mundur, pikat kryesore q\u00eb i kemi p\u00ebr objek trajtimi.<\/p>\n

N\u00eb historin\u00eb e kinemas\u00eb jan\u00eb b\u00ebr\u00eb shum\u00eb filma, t\u00eb cil\u00ebt p\u00ebr subjekt t\u00eb trajtimit kan\u00eb shum\u00eb tema me karakter filozofik. Duhet ta cekim q\u00eb n\u00eb fillim se ka nj\u00eb mospajtim t\u00eb thell\u00eb n\u00eb mes t\u00eb njoh\u00ebsve t\u00eb kinemas\u00eb; se a ka filozofi n\u00eb kinema (film)? A \u00ebsht\u00eb filmi nj\u00eb medium i cili mund t\u00eb p\u00ebr\u00e7oj\u00eb mesazhe filozofike tek audienca, etj.? A mundet filozofia t\u00eb transmetohet n\u00ebp\u00ebrmes ekranit? K\u00ebto jan\u00eb vet\u00ebm disa v\u00ebrejtje q\u00eb kan\u00eb t\u00eb b\u00ebjn\u00eb n\u00eb lidhje me k\u00ebt\u00eb tem\u00eb. Megjithat\u00eb, un\u00eb ndaj argumentin tim me pjes\u00ebn q\u00eb mendon se filmi \u00ebsht\u00eb nj\u00eb medium i cili jo vet\u00ebm q\u00eb mundet, por edhe e ka d\u00ebshmuar tanim\u00eb, se kemi filmografi me boll\u00ebk, q\u00eb ka nj\u00eb baz\u00eb shum\u00eb t\u00eb thell\u00eb filozofike. Shum\u00eb skenare, imazhe, dilema teorike, specifika t\u00eb xhirimit, hap\u00ebsira, peisazhi, akti, poza, muzika etj., d\u00ebshmojn\u00eb se filmi n\u00eb disa raste jo vet\u00ebm q\u00eb \u00ebsht\u00eb bart\u00ebs i mesazhit filozofik, por \u00ebsht\u00eb edhe p\u00ebrmbajt\u00ebsisht i tili\u00eb. Trajtimet q\u00eb kan\u00eb karakter filozofik\u00eb, apo m\u00eb mir\u00eb t\u00eb themi filmat t\u00eb cil\u00ebt kan\u00eb p\u00ebr subjekt trajtimi tematik\u00eb filozofike, jan\u00eb po aq kolorit n\u00eb tema sa edhe vet\u00eb filozofia. N\u00eb kinema jan\u00eb diskutar dhe diskutohen tema me p\u00ebrmbajtje t\u00eb ndryshme filozofike. Jan\u00eb trajtuar probleme q\u00eb perve\u00e7 konsekuencave q\u00eb kan\u00eb prodhuar, kan\u00eb pasur edhe ristrikcione mjaft t\u00eb m\u00ebdha. Q\u00eb nga problemi i Zotit dhe deri tek problemet psikopatologjike, kinemaja i ka vendosur n\u00eb fokusin e trajtimit t\u00eb vet\u00eb.<\/p>\n

Andaj, p\u00ebr ta shqyrtuar dhe argumentuar edhe m\u00eb lidhjen film-filozofi dhe anasjelltas, ne n\u00eb vazhdim n\u00ebp\u00ebrmes filmit Metropolis t\u00eb regjisorit Fritz Lang dhe filmit The Seventh Seal t\u00eb regjisorit Ingmar Bergman-it, do t\u00eb mundohemi ta argumentojm\u00eb k\u00ebt\u00eb lidhje.<\/p>\n

M\u00eb 13 mars 1927, Fritz Lang e p\u00ebrfundoi projektin e tij filmik Metropolis, nj\u00eb nd\u00ebr projektet kinematografike m\u00eb t\u00eb p\u00ebrfolur dhe nj\u00ebherit m\u00eb t\u00eb arrira n\u00eb historin\u00eb e kinemas\u00eb. I cil\u00ebsuar n\u00eb at\u00eb koh\u00eb, por edhe sot si nj\u00eb film futuris, Metropolis-i i Lang-ut rreh p\u00ebrbrenda tij tematikat me karakter t\u00eb thell\u00eb filozofik. N\u00eb k\u00ebt\u00eb film Lang trajton tema t\u00eb ndryshme q\u00eb nga kund\u00ebrth\u00ebniet klasore, problemi mbi autoritetin e babait dhe derit tek ideja kryesore e tij, t\u00eb nj\u00eb metropoli imagjinar, q\u00eb n\u00eb at\u00eb koh\u00eb konsiderohej \u2018\u00ebnd\u00ebrr e shfrenuar\u2019, por nj\u00eb \u00ebnd\u00ebrr e till\u00eb, e cila n\u00eb nj\u00ebfar\u00eb forme sot me t\u00ebr\u00eb k\u00ebto zhvillimet tekniko-teknologjike duket se ishte paralajm\u00ebruar n\u00eb k\u00ebt\u00eb film. Tek problemi klasor, Lang-u e nxjerr pik\u00ebrisht edhe iden\u00eb e Metropolis-it. Nj\u00eb qytet i mbuluar me drita, me zhvillim teknologjik t\u00eb paimagjinuesh\u00ebm p\u00ebr mendjet e zakonshme, me boll\u00ebkun…, parajs\u00eb e v\u00ebrtet\u00eb, por q\u00eb n\u00eb sfond t\u00eb gjith\u00eb k\u00ebtij luksi q\u00ebndron nj\u00eb dyzin\u00eb e pun\u00ebtor\u00ebve t\u00eb cil\u00ebt p\u00ebrkujdes\u00ebn p\u00ebr Metropolis-in. Kjo ting\u00ebllon si ide marksiste, sepse aty ka nj\u00eb shfryt\u00ebzim t\u00eb fuqis\u00eb pun\u00ebtore. Mir\u00ebpo, Lang me nj\u00eb mpreht\u00ebsi t\u00eb jasht\u00ebzakonshme n\u00ebp\u00ebrmes k\u00ebsaj kund\u00ebrth\u00ebnie klasore, nxjerr n\u00eb sip\u00ebrfaqe problemin e autoritetit t\u00eb babait. Kur Freder (luajtur nga Gustav Fr\u00f6hlich) e kupton se qyteti \u00ebsht\u00eb zhvilluar dhe mbahet nga fuqia e pun\u00ebtor\u00ebve t\u00eb varf\u00ebr (nga qyteti i ferrit, sepse qyteti ku jetojn\u00eb pun\u00ebtor\u00ebt \u00ebsht\u00eb i ndar\u00eb nga Metropolis-i), ai p\u00ebrpiqet q\u00eb t\u2019i ndihmoj\u00eb ata. Mir\u00ebpo, k\u00ebtu edhe fillon p\u00ebrplasja shum\u00eb e madhe n\u00eb mes tij dhe babit t\u00eb tij, Joh Fredersen (luajtur nga Alfred Abel). Autoriteti i babait \u00ebsht\u00eb aq konservator sa q\u00eb me asnj\u00eb kusht nuk pranon q\u00eb i biri i tij t\u2019u ndihmoj\u00eb t\u00eb varf\u00ebrve dhe kjo gjendje d\u00ebrgon deri n\u00eb pik\u00ebn e fundme ku rr\u00ebnohet edhe vet\u00eb Metropolis-i. Kjo form\u00eb e nd\u00ebrtuar nga Lang, \u00ebsht\u00eb pik\u00ebrisht zhvillimi n\u00ebp\u00ebr t\u00eb cilin po kalonte shoq\u00ebria moderne. Ky ballafaqim i ashp\u00ebr ishte e kund\u00ebrta e ballafaqimit t\u00eb Kafka-s me babain e tij, sepse po ta parafrazojm\u00eb Georges Bataille-in, Kafka as q\u00eb d\u00ebshironte t\u00eb arratisej nga qerthulli dhe t\u00eb ballafaqohej me autoritetin. \u201cAi donte t\u00eb jetonte brenda qerthullit, si nj\u00eb i d\u00ebbuar\u201d, thot\u00eb Bataille. Nd\u00ebrsa e kund\u00ebrta e Kafka-s \u00ebsht\u00eb Freder-i, sepse ai ballafaqimin me autoritetin e zhvillon n\u00eb nj\u00eb luft\u00eb permanente, dhe q\u00eb n\u00ebp\u00ebrmes k\u00ebtij ballafaqimi t\u00eb pakompromis, Lang-u tenton t\u00eb na e shp\u00ebrfaq kontradiktat jo vet\u00ebm n\u00eb t\u00eb jetuarit, por edhe n\u00eb mend\u00ebsi. Andaj, ky ballafaqim i mend\u00ebsive ishte shprehje e nje epoke q\u00eb po ndryshonte dhe k\u00ebt\u00eb Lang-u na e paraqet n\u00ebp\u00ebrmes vepr\u00ebs se tij filmike Metropolis.<\/p>\n

Tani do ta trajtojm\u00eb nj\u00eb film q\u00eb tem\u00ebn e ka me karakter shum\u00eb t\u00eb thell\u00eb filozofik, \u00ebsht\u00eb filmi The Seventh Seal, i Ingmar Bergman-it. Ky \u00ebsht\u00eb nj\u00eb film tipik filozofik, madje \u00ebsht\u00eb aq i af\u00ebrt me filozofin\u00eb e Nietzsche-s sa q\u00eb t\u00eb duket se skenarin e ka shkruar vet\u00eb ai. N\u00eb The Seventh Seal, Bergman-i trajton problemin e Zotit, problemin e s\u00eb keqes, ekzistenc\u00ebs, vdekjes etj. Parodia q\u00eb Bergman-i e vendos n\u00ebp\u00ebrmes k\u00ebtij film dhe dilema q\u00eb trajtohet aty, \u00ebsht\u00eb dimension i brendsh\u00ebm bergmanian. Mosbesimi n\u00eb Zot e vendos Bergman-in n\u00eb pozita t\u00ebr\u00ebsisht ekzistenciale. Dilema e ekzistenc\u00ebs s\u00eb Zotit \u00ebsht\u00eb nj\u00eb ballafaqim i ankthsh\u00ebm i Antonius Block-ut (Max von Sydow). I sapokthyer nga lufta e kryqzatave si kalor\u00ebs q\u00eb ishte, pra nga nj\u00eb luft\u00eb p\u00ebr mbrojtjen e Zotit, Antonius Block-ut fillon t\u2019i zbehet besimi. Ankthi i vdekjes, p\u00ebrp\u00eblitja me forcat e brendshme ndjesore, arratisja nga besimi, b\u00ebjn\u00eb q\u00eb Bergman-i n\u00ebp\u00ebrmes Antonius Block-ut ta shpreh\u00eb thell\u00ebsin\u00eb e brendshme (t\u00eb paesencializuar) subjektive t\u00eb njeriut. Nj\u00eb trajtim t\u00eb till\u00eb shpirt\u00ebror terapeutik q\u00eb Bergman-i n\u00eb k\u00ebt\u00eb film e vendos n\u00eb karakterin e Antonius Block-ut e shpreh vul\u00ebn e nj\u00eb dimensioni shum\u00eb t\u00eb thell\u00eb filozofik. \u201cP\u00ebrtej vdekjes nuk ka asgj\u00eb\u201d pohon Berbman-i, dhe q\u00eb kjo \u00ebsht\u00eb edhe pika qendrore n\u00eb film q\u00eb personazhi Antonius Block-u e p\u00ebrbrend\u00ebson nj\u00eb ndjenj\u00eb te till\u00eb. Po t\u00eb shprehemi me termat nietzschean Antonius Block-u nga ky moment \u00ebsht\u00eb nj\u00eb udh\u00ebtar q\u00eb nuk brengoset m\u00eb p\u00ebr hijen e tij. Ai i tejkalon fuqit\u00eb ndikuese eksternale dhe lufton me fuqit\u00eb e tij t\u00eb brendshme. Nj\u00eb debat i till\u00eb i brendsh\u00ebm q\u00eb b\u00ebn Antonius Block-u me vet\u00ebn \u00ebsht\u00eb t\u00ebr\u00ebsisht n\u00eb konditat nietzscheane. Madje Nietzsche pohon se \u201c… debati m\u00eb i v\u00ebshtir\u00eb i njeriut, \u00ebsht\u00eb debati me vetveten\u201d. Prandaj n\u00eb filmin The Seventh seal Bergman-i debaton me vet\u00ebn n\u00ebp\u00ebrmes p\u00ebrsonazhit Antonius Block-u.<\/p>\n

Si\u00e7 v\u00ebrejm\u00eb edhe tek kjo q\u00eb u tha m\u00eb lart (kjo \u00ebsht\u00eb vet\u00ebm nj\u00eb pjes\u00eb e vog\u00ebl e t\u00ebr\u00eb asaj kinematografie, q\u00eb \u00ebsht\u00eb e pa mundur q\u00eb t\u00eb shp\u00ebrfaqet n\u00eb t\u00ebr\u00ebsin\u00eb e saj), shihet qart\u00eb se kinemaja p\u00ebrve\u00e7 shum\u00eb dimensionalitetit q\u00eb bart n\u00eb vete, ka edhe an\u00ebn (shum\u00eb prezente) filozofike. Andaj, p\u00ebrve\u00e7 filozofis\u00eb n\u00eb film, un\u00eb mendoj se n\u00eb kinematografi ka shum\u00eb projekte filmike q\u00eb kan\u00eb nxitur mjaft debate n\u00eb filozofi. D.m.th., edhe filmi si i till\u00eb ka prodhuar dhe prodhon konsekuenca me dimension t\u00eb thell\u00eb filozofik.<\/p>\n<\/div>\n

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\n<\/div>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

N\u00eb nj\u00eb bot\u00eb t\u00eb \u00e7mendur, vet\u00ebm t\u00eb \u00e7mendurit jan\u00eb normal\u00eb. Akira Kurosawa Q\u00eb n\u00eb fillim t\u00eb k\u00ebtij ekskursi dua ta theksoj se tema e cila do t\u00eb trajtohet n\u00eb vazhdim, \u00ebsht\u00eb mjaft e gjer\u00eb dhe shum\u00eb dimensionale. Si e till\u00eb mendoj se \u00ebsht\u00eb e pamundur q\u00eb t\u00eb shpjegohet n\u00eb t\u00ebr\u00ebsin\u00eb e saj. Andaj, mendoj se […]<\/p>","protected":false},"author":266,"featured_media":11113,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13],"tags":[954,1703],"ppma_author":[733],"class_list":["post-4657","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-analize","tag-filozofi","tag-kinemaja"],"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\/4657","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=4657"}],"version-history":[{"count":4,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4657\/revisions"}],"predecessor-version":[{"id":11116,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4657\/revisions\/11116"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/11113"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=4657"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=4657"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=4657"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=4657"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}