{"id":5189,"date":"2015-12-10T15:34:47","date_gmt":"2015-12-10T13:34:47","guid":{"rendered":"https:\/\/sbunker.org\/?p=5189"},"modified":"2024-11-12T15:37:54","modified_gmt":"2024-11-12T13:37:54","slug":"kinemaja-dhe-pushteti","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/kinemaja-dhe-pushteti\/","title":{"rendered":"Kinemaja dhe pushteti"},"content":{"rendered":"
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Armiku \u00ebsht\u00eb nj\u00eb mik i popujve.
\nAi vjen sa her\u00eb q\u00eb dikush t\u00eb \u00ebsht\u00eb i denj\u00eb p\u00ebr t\u00eb qen\u00eb i
\nurryer, q\u00eb \u00a0t\u00eb ndjehet i justifikuar n\u00eb mjerimin tuaj.
\nUrrejtja \u00ebsht\u00eb pasioni i v\u00ebrtet\u00eb.
\nDashuria \u00ebsht\u00eb nj\u00eb situat\u00eb anormale.<\/em><\/p>\n

Umberto Eco – Varrezat e Prag\u00ebs<\/p>\n

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Gjat\u00eb viteve 1970, teoria psikoanalitike edhe n\u00eb film doli si kuadri kryesor n\u00eb studimet e filmit p\u00ebr filmin dhe p\u00ebr t\u00eb kuptuarit e angazhimit ton\u00eb n\u00eb t\u00eb. Shqet\u00ebsimi kryesor p\u00ebr teoricien\u00ebt psikanalitik\u00eb ishte se si filmi, teknologjia e filmit kan\u00eb arritur q\u00eb me an\u00eb t\u00eb nj\u00eb shikimi t\u00eb k\u00ebnd\u00ebsh\u00ebm t\u00eb nj\u00eb filmi shfryt\u00ebzohet e pavet\u00ebdijshmja, e cila edhe e riprodhon ideologjin\u00eb dominuese. Shum\u00eb nga k\u00ebta teoricien\u00eb baz\u00ebn e tyre t\u00eb t\u00eb kuptuarit t\u00eb psikologjis\u00eb s\u00eb Shikuesit (spektatorit) dhe t\u00eb zhvillimit njer\u00ebzor n\u00eb formimin e subjektivitetit, e kan\u00eb si nj\u00eb model Lacan-in. Teorin\u00eb e aparatusit n\u00ebn prizmin e Jean-Louis Baudary dhe e Christian Metz, p\u00ebrfaq\u00ebson nj\u00eb nga l\u00ebvizjet m\u00eb me ndikim n\u00eb teori psikoanalitike t\u00eb filmit, ve\u00e7an\u00ebrisht p\u00ebr \u00e7\u00ebshtjen e spektatorit dhe ndikimeve t\u00eb tij. Sipas tyre teoria e aparatusit insiston q\u00eb ne n\u00eb m\u00ebnyr\u00eb q\u00eb para se t\u00eb kuptojm\u00eb p\u00ebrgjigjen e spektatorit, ne duhet s\u00eb pari t\u00eb kuptojn\u00eb natyr\u00ebn e kinematografis\u00eb si aparatus, cila \u00ebsht\u00eb m\u00ebnyra n\u00eb t\u00eb cilil\u00ebn organizimi dhe paraqitja e nd\u00ebrvepron psikologjin\u00eb e njeriut me filmin. Ky konsiderohet edhe si momentumi i kapjes s\u00eb pik\u00ebs nevralgjike, sepse k\u00ebtu ideologjia e kupton fuqin\u00eb q\u00eb ka kinemaja dhe media n\u00eb p\u00ebrgjith\u00ebsi. Kuptohet q\u00eb n\u00ebp\u00ebrmes kinemas\u00eb ideologjia mund t\u00eb penetrohet, t\u00eb futet edhe aty ku nuk ishte imagjinuar. Kjo edhe sot e k\u00ebsaj dite e b\u00ebn kineman\u00eb dhe median n\u00eb p\u00ebrgjith\u00ebsi nj\u00eb sfer\u00eb ku tentohet t\u00eb ndikohet.<\/p>\n

Tanim\u00eb \u00ebsht\u00eb e njohur p\u00ebr ndikimin e mediave vizuele dhe pushteti q\u00eb ushtrojn\u00eb n\u00eb shoq\u00ebri. K\u00ebto media me at\u00eb q\u00eb e shfaqin e b\u00ebjn\u00eb t\u00eb pranishme dhe shpeshher\u00eb t\u00eb pranueshme p\u00ebr ne. Pierre Bourdieu kur flet p\u00ebr fuqin\u00eb e televizionit niset nga maksima e Berkeley-it kur thot\u00eb: \u201cT\u00eb jesh, do t\u00eb thot\u00eb; t\u00eb jesh i perceptuar\u201d. Dhe pik\u00ebrisht ekrani na e mund\u00ebson k\u00ebt\u00eb, t\u00eb shfaqemi, t\u00eb jemi t\u00eb pranish\u00ebm dhe k\u00ebshtu t\u00eb b\u00ebhemi t\u00eb perceptuar. Prandaj, q\u00eb prej ardhjes s\u00eb tyre n\u00eb sken\u00ebn, mediat me ndikimin e tyre e p\u00ebrfaq\u00ebsojn\u00eb nj\u00eb pjes\u00eb mjaft t\u00eb madhe t\u00eb ngjarjeve historike dhe shoq\u00ebrore. Kjo p\u00ebr shkak t\u00eb fuqis\u00eb ndikuese q\u00eb ato kan\u00eb (q\u00eb p\u00ebr Bataille-n ajo p\u00ebrmban nj\u00ebfar\u00eb erosi p\u00ebrbrenda), tek shoq\u00ebria, u b\u00ebn\u00eb edhe sh\u00ebnjest\u00ebr e pushtetit. Si t\u00eb gjitha mediat q\u00eb ishin cak i pushtetit q\u00eb t\u00eb p\u00ebrdoreshin si mjet p\u00ebr arritjen e q\u00ebllimeve t\u00eb veta, po ashtu edhe kinemaja si nj\u00eb medium me nj\u00eb potencial mjaft t\u00eb madh propagandistik u b\u00eb mjet i fuqish\u00ebm n\u00eb duart e pushteteve dhe ideologjive t\u00eb ndryshme. Duhet ta kemi parasysh se ideologjia ka nj\u00eb konotacion dhe gjith\u00ebp\u00ebrfshirje n\u00eb sfer\u00ebn e saj apo si\u00e7 thot\u00eb Louis Giannetti: “Ideologjia zakonisht p\u00ebrkufizohet si nj\u00eb trup i ideve q\u00eb pasqyrojn nevojat sociale dhe aspiratat e nj\u00eb individi, t\u00eb nj\u00eb grupi, t\u00eb nj\u00eb klas\u00ebs, apo kulture. Termi \u00ebsht\u00eb i lidhur zakonisht me politik\u00ebn dhe platformat partiake, por ajo gjithashtu mund t\u00eb n\u00ebnkuptoj nj\u00eb grup t\u00eb caktuar t\u00eb vlerave q\u00eb jan\u00eb implicite n\u00eb \u00e7do nd\u00ebrmarrje t\u00eb njeriut – duke p\u00ebrfshir\u00eb edhe kineman\u00eb. Pra, pushtetet autoritare dhe jo vet\u00ebm, vet\u00ebn e tyre, fuqin\u00eb dhe autoritetin e tyre filluan ta shprehin edhe n\u00ebp\u00ebrmes kinemas\u00eb. N\u00ebp\u00ebrmes filmit u b\u00ebn\u00eb dhe b\u00ebhen propaganda q\u00eb kan\u00eb efekte shum\u00eb t\u00eb fuqishme ndikuese tek shoq\u00ebria.<\/p>\n

\u00cbsht\u00eb interesant se ideologjit\u00eb e ndryshme, pushtetet autoritariste si q\u00ebllim kryesor kishin q\u00eb t\u00eb prodhonin kryesisht filma me karakter edukativ dhe dokumentar\u00eb, me q\u00ebllim t\u00eb ngritjes s\u00eb vet\u00ebdijes, dhe mbase k\u00ebshtu u b\u00eb nj\u00eb lidhje shum\u00eb e fuqishme nd\u00ebrmjet filmit dhe politik\u00ebs. Avangarda artstike q\u00eb u mish\u00ebrua me aktivitetin politik duke u b\u00ebr\u00eb shpesh edhe pjes\u00eb konstituive, e humbi refleksionin emocional\/artistik dhe k\u00ebshtu u b\u00eb pjes\u00eb e ideologjis\u00eb, e nj\u00eb mekanizmi burokratik q\u00eb tanim\u00eb artin e kishte z\u00ebvend\u00ebsuar me pushtetin. Rasti i kinemas\u00eb n\u00eb Itali, Rusi dhe Gjermanin e para Luft\u00ebs s\u00eb Dyt\u00eb Botrore (dhe jo vet\u00ebm), \u00ebsht\u00eb tregues sesi kinemaja (nj\u00eb pjes\u00eb e kinemas\u00eb dhe kineast\u00ebve) u b\u00ebn\u00eb pjes\u00eb e makineris\u00eb propagandistike. N\u00eb Rusin\u00eb dhe n\u00eb Gjermanin\u00eb e asaj kohe qeveriat\u00eb k\u00ebrkonin p\u00ebr t\u2019i kontrolluar jo vet\u00ebm sjelljet publike t\u00eb popullit t\u00eb tyre, por edhe mendimet e tyre private dhe opinionet brenda sht\u00ebpive t\u00eb tyre. Fuqia reale e pushtetit tanim\u00eb nga ana e mediave ishte e lart\u00ebsuar deri n\u00eb mas\u00ebn e mitit. P\u00ebr k\u00ebt\u00eb Bourdieu pohon se: \u201cNjer\u00ebzit konformohen n\u00eb nj\u00eb form\u00eb t\u00eb vet\u00ebdijshme apo t\u00eb pavet\u00ebdijshme t\u00eb autocensur\u00ebs, pa pasur nevoj\u00eb q\u00eb t\u2019u kujtohen urdhrat\u201d. Kjo autocensur\u00eb p\u00ebrbrend\u00ebsohet deri n\u00eb palc\u00eb, sepse p\u00ebrve\u00e7 dhun\u00ebs reale q\u00eb pushteti mund ta ushtroj\u00eb tek ne, ai ushtron edhe nj\u00eb dhun\u00eb vizuele, e cila mend\u00ebrisht na p\u00ebrgatit\u00eb q\u00eb t\u00eb jemi t\u00eb d\u00ebgjuesh\u00ebm.<\/p>\n

P\u00ebr ta konkretizuar k\u00ebt\u00eb n\u00eb vazhdim do t\u00eb trajtojm\u00eb nj\u00eb nga rastet q\u00eb m\u00eb s\u00eb miri e shp\u00ebrfaq t\u00ebr\u00eb k\u00ebt\u00eb amallgam\u00eb t\u00eb k\u00ebtij fenomeni, ku n\u00ebp\u00ebrmes kinemas\u00eb krijohet nj\u00eb Tabir Saraji, nj\u00eb perandori e dhun\u00ebs si\u00e7 ishte Gjermania naziste. Kinemaja n\u00eb Gjermanin\u00eb naziste luajti nj\u00eb rol shum\u00eb t\u00eb madh n\u00eb propagand\u00eb. Industria e filmit ishte e kontrolluar nga nazist\u00ebt dhe shumica e k\u00ebtyre filmave ishin propagandistik, q\u00eb kishin p\u00ebr q\u00ebllim “ndri\u00e7imin” e shoq\u00ebris\u00eb n\u00eb lidhje me ngjarjet q\u00eb po ndodhnin. E gjith\u00eb kinematografia ishte e kontrolluar nga Ministria e Propagand\u00ebs me n\u00eb krye Joseph Goebbels-in, i cili thoshte se: \u201cNe jemi t\u00eb bindur se filmi p\u00ebrb\u00ebn nj\u00eb nga mjetet m\u00eb moderne dhe shkencore p\u00ebr t\u00eb ndikuar masat. Prandaj, Qeveria nuk duhet ta l\u00ebn\u00eb pas dore at\u00eb.\u201d N\u00ebp\u00ebrmes k\u00ebsaj v\u00ebrehet fuqia q\u00eb kishte kinemaja dhe sesi ajo ishte b\u00ebr\u00eb nj\u00eb mjet i vyesh\u00ebm p\u00ebr regjimet totalitare. Nj\u00eb linj\u00eb e nj\u00ebjt\u00eb ndiqet edhe nga Shqip\u00ebria komuniste. E t\u00ebr\u00eb prodhimtaria kinematofrafike e kinostudios \u201cShqip\u00ebria e Re\u201d dhe jo vet\u00ebm, \u00ebsht\u00eb nj\u00eb produkt i cili ka si q\u00ebllim par\u00ebsor dhe t\u00eb vet\u00ebm iluminimin e masave ashtu si\u00e7 d\u00ebshironte pushteti.<\/p>\n

Por t\u2019i kthehemi rastit t\u00eb Gjermanis\u00eb. Nj\u00eb nga filmat q\u00eb e shpreh fuqin\u00eb ndikuese \u00ebsht\u00eb The Eternal Jew (1940), i regjisorit Fritz Hippler. Ky film i portretizon hebrenjt\u00eb n\u00eb m\u00ebnyr\u00ebn se si nazist\u00ebt donin t\u2019ua shfaqnin ata popullit gjerman. Nazist\u00ebt propagand\u00ebn e tyre ndaj hebrenj\u00ebve e b\u00ebn\u00eb t\u00eb pranueshme dhe t\u00eb besueshme p\u00ebr popullin pothuajse n\u00ebp\u00ebrmes kinemas\u00eb. Film The Eternal Jew paraqet hebrenjt\u00eb t\u00eb katandisur n\u00eb mjerim, q\u00eb jetojn\u00eb n\u00eb varf\u00ebri, por q\u00eb kjo portretizohet si nj\u00eb realitet normal i p\u00ebrditshm\u00ebris\u00eb n\u00eb jet\u00ebn e tyre. Filmi tenton ta p\u00ebrforcoj\u00eb pik\u00ebpamjen e gjerman\u00ebve mbi hebrenjt\u00eb. Ai ishte dizajnuar q\u00eb t\u00eb krijonte nj\u00eb neveri tek shikuesi gjerman n\u00eb raport me hebrenjt\u00eb. P\u00ebr ideologjin\u00eb nuk \u00ebsht\u00eb i r\u00ebnd\u00ebsish\u00ebm realiteti, mbase ai edhe mund t\u00eb jet\u00eb p\u00ebnges\u00eb. Madje ato (ideologjit\u00eb) realitetin e riprodhojn\u00eb sipas m\u00ebnyr\u00ebs s\u00eb tyre. K\u00ebshtu ishte edhe filmi The Eternal Jew, nj\u00eb realitet i riprodhuar, i cili n\u00eb realitet pastaj krijonte realitete t\u00eb reja.<\/p>\n

Pra, nga kjo v\u00ebrehet sesi shum\u00eb arte tjera edhe kinemaja nuk ka mundur t\u2019i shmanget raportit me pushtetin, qoft\u00eb me dashje apo pa dashje, ajo u b\u00eb pjes\u00eb e mekanizmit dhunues t\u00eb tyre. Andaj, ajo \u00e7ka \u00e7doher\u00eb, edhe n\u00eb dit\u00ebt e sotshme do t\u00eb mbetet sfida m\u00eb e madhe, \u00ebsht\u00eb q\u00eb media n\u00eb p\u00ebrgjith\u00ebsi, e kinemaja n\u00eb ve\u00e7anti t\u00eb mbetet jasht\u00eb domenit t\u00eb pushtetit. \u00c7doher\u00eb kur kinemaja b\u00ebh\u00ebt matric\u00eb e pushtetit aty nuk ka m\u00eb art, sepse pas pak ajo do t\u00eb prodhoj\u00eb pushtet, q\u00eb m\u00eb von\u00eb ky i fundit do t\u00eb prodhoj\u00eb dhun\u00eb.<\/p>\n

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

Armiku \u00ebsht\u00eb nj\u00eb mik i popujve. Ai vjen sa her\u00eb q\u00eb dikush t\u00eb \u00ebsht\u00eb i denj\u00eb p\u00ebr t\u00eb qen\u00eb i urryer, q\u00eb \u00a0t\u00eb ndjehet i justifikuar n\u00eb mjerimin tuaj. Urrejtja \u00ebsht\u00eb pasioni i v\u00ebrtet\u00eb. Dashuria \u00ebsht\u00eb nj\u00eb situat\u00eb anormale. Umberto Eco – Varrezat e Prag\u00ebs   Gjat\u00eb viteve 1970, teoria psikoanalitike edhe n\u00eb film doli […]<\/p>","protected":false},"author":266,"featured_media":10085,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[1703,1355],"ppma_author":[733],"class_list":["post-5189","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-kinemaja","tag-pushteti"],"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\/5189","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=5189"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/5189\/revisions"}],"predecessor-version":[{"id":10086,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/5189\/revisions\/10086"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/10085"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=5189"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=5189"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=5189"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=5189"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}