{"id":5388,"date":"2019-12-23T15:07:33","date_gmt":"2019-12-23T13:07:33","guid":{"rendered":"https:\/\/sbunker.org\/?p=5388"},"modified":"2024-10-25T15:14:27","modified_gmt":"2024-10-25T13:14:27","slug":"distopia-joker","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/distopia-joker\/","title":{"rendered":"Distopia \u201cJOKER\u201d"},"content":{"rendered":"
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Filmi \u201cJoker\u201d i regjisorit Tod Phillips \u00ebsht\u00eb vep\u00ebr q\u00eb n\u00ebp\u00ebrmjet bot\u00ebs fiksionale interpreton bot\u00ebn ton\u00eb reale. Ky film, i kthyer n\u00eb opium p\u00ebr publikun q\u00eb nga dita e premier\u00ebs, \u00ebsht\u00eb film problematik dhe problematizues: problematik, sepse duket sikur nxit dhun\u00eb, protesta, revolucione,vandaliz\u00ebm; problematizues, sepse e trajton barbarizmin si alternativ\u00eb potenciale t\u00eb shteteve oligarkike dhe shoq\u00ebrive hiperreale<\/span><\/p>\n<\/div>\n

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Sfondi i sag\u00ebs<\/strong><\/p>\n

Pavar\u00ebsisht titullit, \u201cJoker\u201d (2019) nuk i p\u00ebrket kategoris\u00eb s\u00eb filmave t\u00eb industris\u00eb Marvel. Ai \u00ebsht\u00eb film pa superheronj, por q\u00eb, megjithat\u00eb, i ruan disa lidhje me stripat (comic books). Edhe k\u00ebtu kemi qytetin e trilluar Gotham, kemi \u00e7iftin Wayne dhe birin e tyre, i cili, si\u00e7 e dim\u00eb nga saga e stripave, m\u00eb von\u00eb do t\u00eb b\u00ebhet Batman. Natyrisht, edhe superminjt\u00eb p\u00ebr t\u00eb cil\u00ebt flitet n\u00eb fillim t\u00eb filmit dhe dy prej t\u00eb cil\u00ebve shfaqen n\u00eb fund, pas vrasjes s\u00eb \u00e7iftit Wayne, jan\u00eb referenca t\u00eb asaj sage. Kjo do t\u00eb thot\u00eb q\u00eb filmi \u201cJoker\u201d t\u00ebrheq edhe publikun \u201cmasiv\u201d (shikuesit e vij\u00ebs semantike), edhe publikun elitar (shikuesit e vij\u00ebs semiotike).<\/p>\n

Natyrisht, publiku elitar do ta lexoj\u00eb Gothamin si vend alegorik t\u00eb shum\u00eb qyteteve e shteteve t\u00eb tjera, kurse publiku tjet\u00ebr pret t\u00eb shfaqet Batmani, por n\u00eb film shfaqet vet\u00ebm Bruce Wayne, i cili, si\u00e7 dihet dhe si\u00e7 shihet nga dy minjt\u00eb q\u00eb kalojn\u00eb pas tij pas vrasjes s\u00eb prind\u00ebrve t\u00eb tij, \u00ebsht\u00eb Batman potencial, por aktualisht f\u00ebmij\u00eb.<\/p>\n

Depresioni dhe distopia<\/strong><\/p>\n

Arthur Fleck (alias Joker) \u00ebsht\u00eb nj\u00eb djal\u00eb i s\u00ebmur\u00eb q\u00eb p\u00ebrpiqet t\u00eb sh\u00ebrohet, nd\u00ebrkoh\u00eb q\u00eb vendi po \u00e7mendet. Ai ka nj\u00eb \u00e7rregullim mental q\u00eb v\u00ebrehet n\u00eb t\u00eb qeshur\u00ebn e tij patologjike, por aspak m\u00eb i rregullt nuk \u00ebsht\u00eb realiteti ku jeton. Ai \u00ebsht\u00eb viktim\u00eb e familjes, shoq\u00ebris\u00eb dhe shtetit:\u00a0 \u00ebsht\u00eb bonjak, i braktisur, pre e rruga\u00e7\u00ebve, koleg\u00ebve dhe mediave, si dhe i p\u00ebrndjekur nga polic\u00ebt. Ai bie viktim\u00eb e veprimeve me paramendim: rruga\u00e7\u00ebt ia marrin tabel\u00ebn e shfaqjes, n\u00eb m\u00ebnyr\u00eb q\u00eb ai t\u2019i ndjek\u00eb dhe pastaj kur t\u00eb futet n\u00eb sokak, ta rrahin; kolegu Randall i jep nj\u00eb revole q\u00eb pastaj ta shantazhoj\u00eb; showmani Murray tallet me t\u00eb, q\u00eb ta b\u00ebj\u00eb t\u00eb famsh\u00ebm si idiot dhe ta th\u00ebrras\u00eb n\u00eb emisionin e tij e t\u00eb tallet si me pala\u00e7on; \u201cbabai\u201d (nga shtresa e lart\u00eb) e mohon, \u201cn\u00ebna\u201d (nga shtresa e ul\u00ebt) e mashtron, e ushqen me iluzion. Ai \u00ebsht\u00eb viktim\u00eb e rrethit dhe ndihet i t\u00ebhuaj\u00ebsuar prej shoq\u00ebris\u00eb, sepse: \u201cnuk t\u00eb b\u00ebn t\u00eb vetmuar t\u00eb qen\u00ebt vet\u00ebm, por t\u00eb qen\u00ebt i rrethuar nga njer\u00ebz t\u00eb gabuar\u201d. Ai nuk ka shok\u00eb, nuk ka t\u00eb dashur, nuk ka grua, nuk ka baba, nuk ka n\u00ebn\u00eb (at\u00eb q\u00eb e njihte p\u00ebr n\u00ebn\u00eb, e mbyt, pasi ta lexoj\u00eb dosjen e vjedhur nga spitali), nuk ka ask\u00ebnd. Ai \u00ebsht\u00eb nj\u00eb njeri i d\u00ebshp\u00ebruar n\u00eb nj\u00eb realitet t\u00eb simuluar. Depresioni i tij, i reflektuar edhe n\u00eb qeshjen e \u00e7uditshme, vjen si pasoj\u00eb e mjerimit social, \u00e7rregullimit mendor dhe kaosit shtet\u00ebror.<\/p>\n

Gothami jepet si vend distopik me aluzione t\u00eb shumta n\u00eb qytete dhe shtete t\u00eb ndryshme. Prandaj, \u00e7do Gotham prodhon depresion dhe cdo depresion ekstrem prodhon nj\u00eb \u201cshakaxhi\u201d (joker), i cili duket sikur i b\u00ebn jehon\u00eb th\u00ebnies s\u00eb dramaturgut G. B. Shaw: \u201cshakaja ime e v\u00ebrtet\u00eb \u00ebsht\u00eb se un\u00eb fare nuk e kam me shaka\u201d.\u00a0 K\u00ebt\u00eb e d\u00ebshmon edhe reagimi i Joker-it ndaj sh\u00ebnimit mbi shkall\u00eb \u201cDon\u2019t forget to smile\u201d (\u201cMos harro t\u00eb qesh\u00ebsh!\u201d), duke i r\u00ebn\u00eb viz\u00eb \u201cforget to\u201d p\u00ebr ta l\u00ebn\u00eb qart\u00eb mesazhin: \u201cDon\u2019t smile!\u201d (\u201cMos qesh!\u201d).<\/p>\n

Klouni b\u00ebhet Krisht<\/strong><\/p>\n

Filmi \u201cJoker\u201d flet p\u00ebr papun\u00ebsi, plehra, ngritje \u00e7mimesh dhe shkurtim fondesh. Jokerin e largojn\u00eb nga puna dhe i nd\u00ebrpriten sh\u00ebrbimet sociale. P\u00ebr t\u2019i siguruar ila\u00e7et, ai provon fatin n\u00eb nj\u00eb stend-up komedi, por d\u00ebshton n\u00eb p\u00ebrpjekjen e tij p\u00ebr ta b\u00ebr\u00eb publikun t\u00eb qesh\u00eb. D\u00ebshtimin e tij t\u00eb xhiruar e ka siguruar Murray, i cili e l\u00ebshon emisionin e tij shum\u00eb t\u00eb ndjekur dhe fiton shikueshm\u00ebri me videon e viktim\u00ebs, t\u00eb cil\u00ebn nuk e l\u00eb me kaq, por e fton edhe n\u00eb emisionin \u201clive\u201d. Jokeri ka vrar\u00eb tre qytetar\u00eb (pun\u00ebtor\u00eb t\u00eb Waynet) n\u00eb metro, gjithashtu ka vrar\u00eb kolegun shantazhues (Randallin) dhe ka mbytur me jast\u00ebk \u201cn\u00ebn\u00ebn\u201d q\u00eb shpreson se \u201cmir\u00ebsia\u201d e Thomas Waynet do t\u2019i nxjerr\u00eb nga mjerimi. Por, sipas tij, ai q\u00eb meriton plumb m\u00eb shum\u00eb se t\u00eb gjith\u00eb \u00ebsht\u00eb Murray, i cili p\u00ebrfaq\u00ebson mizorin\u00eb e mediave. Pasi \u00ebsht\u00eb tallur me t\u00eb nga distanca (n\u00ebp\u00ebrmjet videos), Murray pretendon t\u00eb tallet edhe nga af\u00ebr, duke e ditur apriori q\u00eb Jokeri nuk di batuta komike. Por, meq\u00eb \u201ckomedia \u00ebsht\u00eb subjektive\u201d, Jokeri i tregon atij dhe publikut p\u00ebr gj\u00ebrat q\u00eb e arg\u00ebtojn\u00eb m\u00eb s\u00eb shumti: vrasjet. Koncepti i tij p\u00ebr komedin\u00eb kund\u00ebrshtohet, por ai k\u00ebmb\u00ebngul duke ua b\u00ebr\u00eb me dije se mjaft ka vendosur sistemi se \u00e7far\u00eb \u00ebsht\u00eb p\u00ebr t\u00eb qeshur e \u00e7far\u00eb jo. K\u00ebshtu ai e thot\u00eb t\u00eb v\u00ebrtet\u00ebn n\u00eb nj\u00eb show televiziv dhe arg\u00ebtohet duke treguar p\u00ebr vrasjet n\u00eb metro. Prap\u00eb k\u00ebtu koncepti i tij p\u00ebr komiken korrespondon me konceptin e irlandezit ironik, G. B. Shaw: \u201cm\u00ebnyra ime e b\u00ebrjes shaka \u00ebsht\u00eb p\u00ebr ta th\u00ebn\u00eb t\u00eb v\u00ebrtet\u00ebn. Kjo \u00ebsht\u00eb shakaja m\u00eb arg\u00ebtuese n\u00eb bot\u00eb\u201d. Jokeri e thot\u00eb t\u00eb v\u00ebrtet\u00ebn dhe Murray shokohet dhe e kupton se ai, t\u00eb cilin e ka konsideruar idiot, \u00ebsht\u00eb ironik dhe i tmerrsh\u00ebm, prandaj trembet kur Jokeri e pyet: \u201cA mos do edhe ndonj\u00eb shaka tjet\u00ebr?\u201d<\/p>\n

Shakaja e tij e radh\u00ebs \u00ebsht\u00eb vrasja e Murrayt. Publiku n\u00eb sall\u00eb klith nga frika, por publiku jasht\u00eb duket se e ka marr\u00eb mesazhin. Pasi arrestohet dhe aksidentohet, Jokeri ngrihet n\u00eb k\u00ebmb\u00eb mbi makin\u00eb dhe hap krah\u00ebt para turm\u00ebs protestuese q\u00eb e adhurojn\u00eb si t\u00eb ishte Mesia. Ai n\u00eb studio nuk pranon t\u00eb njihet si simbol i nism\u00ebtarit t\u00eb nj\u00eb l\u00ebvizjeje, por rrug\u00ebs nga aty deri te sheshi e ka par\u00eb rebelimin q\u00eb ka frym\u00ebzuar me shembullin e tij, prandaj edhe vizaton buz\u00ebqeshjen me gjak, vall\u00ebzon (dometh\u00ebn\u00eb: \u00e7lirohet) dhe pranon barr\u00ebn e kryqit p\u00ebr t\u2019u kthyer n\u00eb simbol, n\u00eb ikon\u00eb. Kur i hap duart si Krishti n\u00eb kryq, ne, edhe pse nuk e d\u00ebgjojm\u00eb, e dim\u00eb q\u00eb ai \u00ebsht\u00eb duke menduar kund\u00ebrshtarin e tij, \u201cbaban\u00eb\u201d e tij dhe (ndoshta) \u00ebsht\u00eb duke th\u00ebn\u00eb vet\u00eb me vete: At\u00eb, at\u00eb, pse m\u00eb braktise?<\/p>\n

Skena p\u00ebrmbyll\u00ebse fton publikun ta interpretoj\u00eb fundin e hapur. Pas s\u00eb qeshur\u00ebs patologjike, Jokerit i kujtohet nj\u00eb \u201cshaka\u201d t\u00eb cil\u00ebn refuzon ta tregoj\u00eb, sepse vet\u00ebm ai mund ta kuptoj\u00eb, pasi \u201ckomedia \u00ebsht\u00eb subjektive\u201d. \u201cShakaja\u201d q\u00eb i kujtohet ilustrohet me pamjen e f\u00ebmij\u00ebs q\u00eb q\u00ebndron n\u00eb k\u00ebmb\u00eb mes dy kufomave t\u00eb prind\u00ebrve, derisa dy minj gjirizi kalojn\u00eb pas tij. Kjo \u201cshaka\u201d tregon se pas vrasjes s\u00eb \u201cn\u00ebn\u00ebs\u201d q\u00eb ka kryer Jokeri dhe pas vrasjes s\u00eb \u201cbabait\u201d t\u00eb tij nga nj\u00eb \u201cjoker\u201d tjet\u00ebr, shtrihet nj\u00eb mister. Meq\u00eb filmi luan me hiperrealitetin dhe iluzionet, n\u00eb horizont n\u00eb vend t\u00eb shpres\u00ebs, shtrihet hakmarrja si nj\u00eb luft\u00eb mes v\u00ebllez\u00ebrish, apo si nj\u00eb v\u00ebllavrasje potenciale. E qeshura e fundit e Jokerit tregon se ai nga nj\u00eb Orest matricidal, tash ka mbetur t\u00eb kthehet n\u00eb nj\u00eb Kain fratercidal. P\u00ebr krimet e Kainit jan\u00eb dy akuza opozitare: nj\u00ebra e b\u00ebn p\u00ebrgjegj\u00ebs Kainin, tjetra prind\u00ebrit e tij q\u00eb favorizuan Abelin. Nd\u00ebrsa, Saramago n\u00eb novel\u00ebn e tij t\u00eb fundit, p\u00ebr k\u00ebt\u00eb krim e faj\u00ebson vet\u00eb Zotin.<\/p>\n

Natyrisht, n\u00eb nivelin e ideve, filmi pasurohet duke e l\u00ebn\u00eb hapur k\u00ebt\u00eb hipotez\u00eb t\u00eb realitetit skizmatik.<\/p>\n

Hienat e hiperrealitetit \u00a0<\/strong><\/p>\n

Jan\u00eb tri figura q\u00eb p\u00ebrfaq\u00ebsojn\u00eb hiperrealitetin n\u00eb filmin \u201cJoker\u201d: Thomas Wayne, Murray Franklin dhe Sophie Dumond. Dy t\u00eb par\u00ebt jan\u00eb hiena q\u00eb ushqehen me k\u00ebrma realiteti, e treta \u00ebsht\u00eb ushqim hiperreal i Joker-it p\u00ebr t\u00eb mos vdekur nga realiteti.<\/p>\n

Thomas Wayne \u00ebsht\u00eb person n\u00eb kuptimin zanafillor t\u00eb fjal\u00ebs (lat.: persona \u2013 mask\u00eb). Ai vet\u00ebparaqitet si shp\u00ebtimtar i vet\u00ebm potencial i vendit, por paraqitja e tij \u00ebsht\u00eb maskim medial. Ai \u00ebsht\u00eb nj\u00eb i pasur q\u00eb reagon n\u00eb m\u00ebnyr\u00eb mediatike dhe patetike, pas vrasjes s\u00eb tre pun\u00ebtor\u00ebve t\u00eb tij n\u00eb metro, nj\u00eb vrasje kjo q\u00eb u ka dh\u00ebn\u00eb shpres\u00eb t\u00eb varf\u00ebrve, t\u00eb cil\u00ebt ai i quan kloun\u00eb. \u201cSikur ekziston nj\u00eb inat ndaj t\u00eb pasurve. Sikur v\u00ebllez\u00ebrit tan\u00eb q\u00eb nuk kan\u00eb pasur fat, po mbajn\u00eb an\u00ebn e vras\u00ebsit. Prandaj po konkurroj p\u00ebr kryetar bashkie\u201d, thot\u00eb ai. Nd\u00ebrkoh\u00eb, n\u00eb gazeta dhe protesta dominojn\u00eb fjal\u00ebt \u201cKill the rich!\u201d (\u201cVriti t\u00eb pasurit!\u201d). Ai shpreson q\u00eb protestuesit mund t\u00eb lokalizohen dhe t\u00eb distancohen nga veprimi i klounit Joker, por n\u00eb protesta ka ndodhur identifikimi i mas\u00ebs me vras\u00ebsin. Si i pasur q\u00eb lyp pushtet politik, Wayne supozohet t\u00eb jet\u00eb nj\u00eb financues dhe kontrollues i mediave. \u00cbsht\u00eb ironike q\u00eb ky produkt i virtualitetit vritet n\u00eb nj\u00eb sokak real e t\u00eb pist\u00eb, ku sh\u00ebtisin minjt\u00eb e gjirizit. Ai shpresonte q\u00eb t\u00eb pak\u00ebnaqurit do ta kuptonin \u201ct\u00eb drejt\u00ebn\u201d dhe do t\u00eb bindeshin (\u201cata si Uejni shpresojn\u00eb q\u00eb ne t\u2019u bindemi, t\u00eb mos b\u00ebhemi ujq e t\u00eb eg\u00ebrsohemi\u201d), por ata e din\u00eb q\u00eb t\u00eb pasurit nuk jan\u00eb b\u00ebr\u00eb t\u00eb till\u00eb p\u00ebr shkak t\u00eb fatit, por p\u00ebr shkak t\u00eb korrupsionit, prandaj bashkohen n\u00ebn moton: \u201cwe are all clouns\u201d (\u201cne t\u00eb gjith\u00eb jemi kloun\u00eb\u201d).<\/p>\n

Pa dyshim, skena m\u00eb e diskutuar e filmit \u201cJoker\u201d \u00ebsht\u00eb ajo q\u00eb paraqet Jokerin mysafir n\u00eb studio t\u00eb emisionit \u201cLive with Murray Franklin\u201d. Televizioni dhe emisioni m\u00eb i shikuar i Gothamit vendos \u201cta ushqej\u00eb\u201d publikun e uritur me nj\u00eb fatkeq q\u00eb p\u00ebrpiqet t\u00eb punoj\u00eb ndersh\u00ebm p\u00ebr t\u2019i bler\u00eb ila\u00e7et. Televizioni, i zhveshur nga humanizmi, interesohet vet\u00ebm p\u00ebr shikueshm\u00ebri, e cila konvertohet n\u00eb p\u00ebrfitim monetar. Jokerit, si fatkeq q\u00eb \u00ebsht\u00eb, nuk i shkon mbar\u00eb stand-up komedia dhe ky d\u00ebshtim i jep mund\u00ebsi showmanit Murray t\u00eb tallet me t\u00eb, duke e transmetuar videon e Jokerit dhe duke e komentuar, dometh\u00ebn\u00eb duke e treguar pren\u00eb dhe duke i yshtur hienat drejt saj. Meqen\u00ebse tash, si\u00e7 thoshte McLuhan, jetojm\u00eb n\u00eb nj\u00eb \u201cfshat global\u201d, videoja b\u00ebhet virale brenda dite dhe Murray ndihet \u201chero i dit\u00ebs\u201d, pasi arg\u00ebton publikun me \u201cdebilin e dit\u00ebs\u201d. Dhe sikur mos t\u00eb mjaftonte kjo, ai e th\u00ebrret n\u00eb studio viktim\u00ebn e videos. Murray, i magjepsur pas suksesit komercial, n\u00ebp\u00ebrk\u00ebmb dinjitetin qytetar. \u201cE ke par\u00eb si \u00ebsht\u00eb jeta jasht\u00eb, Murray? Nuk ka m\u00eb qytetar\u00eb. Askush nuk mendon si ndihet tjetri\u201d, thot\u00eb Jokeri dhe vazhdon: \u201cTi je i tmerrsh\u00ebm. Nxore videon time dhe m\u00eb ftove n\u00eb emision. Doje vet\u00ebm t\u00eb talleshe me mua\u201d.<\/p>\n

Po ta ndjekim logjik\u00ebn e Baudrillardit, Murray nuk \u00ebsht\u00eb i vet\u00ebdijsh\u00ebm se \u00e7far\u00eb i ka shkaktuar Jokerit, sepse n\u00eb bot\u00ebn e hiperrealitetit, ku showmani ndihet zot, qenia reale \u00ebsht\u00eb m\u00eb pak e r\u00ebnd\u00ebsishme sesa figura virtuale e saj. Hiperrealiteti gjithmon\u00eb harron origjin\u00ebn, tipi harron prototipin. K\u00ebshtu, Murray kujton se ka para vetes tipin e videos, Jokerin, q\u00eb s\u2019di t\u00eb b\u00ebj\u00eb shaka, jo prototipin, apo Jokerin real, q\u00eb e ka kuptuar talljen dhe ka ardhur t\u00eb tallet n\u00eb m\u00ebnyr\u00ebn e vet. Plumbi i Jokerit n\u00eb ballin e Murrayt \u00ebsht\u00eb goditje e fuqishme q\u00eb i jep realiteti hiperrealitetit. Ai plumb p\u00ebrfundimisht e shpall mosbesimin ndaj mediave, reagimin njer\u00ebzor ndaj aparatusit virtual. Mediat mund t\u00eb tallen, mund t\u00eb shpifin, mund t\u2019i ushqejn\u00eb hienat, por gjithmon\u00eb ka nj\u00eb limit.\u00a0 Murray Franklin \u00ebsht\u00eb ikon\u00eb e hiperrealiteti, idhull i Jokerit, por gjith\u00e7ka e sheh si pre potenciale p\u00ebr ta ushqyer publikun e droguar nga hiperrealiteti, pra per t\u2019i ushqyer hienat e tij. Vrasja e tij \u00ebsht\u00eb nd\u00ebr vrasjet m\u00eb dometh\u00ebn\u00ebse n\u00eb histori t\u00eb kinematografis\u00eb. \u00cbsht\u00eb vrasje filozofike, q\u00eb ndodh nga p\u00ebrplasja e realitetit me hiperrealitetin.<\/p>\n

Gjithashtu, nj\u00eb figur\u00eb e linj\u00ebs s\u00eb hiperrealitetit \u00ebsht\u00eb edhe fqinja e Jokerit, Sofia (Sophie Dumond), me t\u00eb cil\u00ebn ai krijon nj\u00eb lidhje n\u00eb mendjen e tij q\u00eb \u00ebsht\u00eb po aq e s\u00ebmur\u00eb sa edhe vendi ku ndodhin ngjarjet. Ajo, p\u00ebr dallim nga dy figurat e tjera, \u00ebsht\u00eb pozitive, por lidhja e saj me Jokerin ka vet\u00ebm nj\u00eb t\u00eb met\u00eb: nuk \u00ebsht\u00eb e v\u00ebrtet\u00eb.\u00a0 Truri i tij duke u nisur nga nj\u00eb impuls real (Sofia ekziston), ka nd\u00ebrtuar nj\u00eb realitet t\u00eb d\u00ebshiruar (historia ka ndodhur vet\u00ebm n\u00eb mendjen e tij). Sofia ia prish idilin hiperreal, kur e vet\u00ebdijeson p\u00ebr iluzionin e bukur t\u00eb lidhjes \u201cerotike\u201d.<\/p>\n

Hiperrealiteti \u00ebsht\u00eb prishje e kufirit mes realitetit dhe iluzionit. Ura q\u00eb i lidh ato \u00ebsht\u00eb vendi ku p\u00ebr pak \u00e7aste ndihet rehat Jokeri, nd\u00ebrsa hendeku mes tyre \u00ebsht\u00eb vendi ku marrin fund Wayne dhe Murray.<\/p>\n

Observation Room & White Room<\/strong><\/p>\n

Gjat\u00eb konsult\u00ebs me pun\u00ebtoren sociale, ajo e pyet se si ndihet dhe ai thot\u00eb se mendon q\u00eb m\u00eb mir\u00eb \u00ebsht\u00eb ndier n\u00eb spital, n\u00eb dhom\u00ebn e vrojtimit (observation room). Ai k\u00ebrkon doz\u00eb m\u00eb t\u00eb madhe ila\u00e7esh p\u00ebr ta p\u00ebrballuar realitetin, pasi i duket se, derisa ai po p\u00ebrpiqet t\u00eb sh\u00ebrohet, realiteti po \u00e7mendet dit\u00eb e m\u00eb shum\u00eb. Ngjash\u00ebm me koh\u00ebn n\u00eb dhom\u00ebn e vrojtimit, jeta jasht\u00eb spitalit \u00ebsht\u00eb prap\u00eb jet\u00eb brenda kamerave dhe p\u00ebr k\u00ebt\u00eb ai bindet kur e sheh veten n\u00eb emisionin e Murrayt. K\u00ebt\u00eb video ai e sheh nga spitali, ku tash kujdeset p\u00ebr \u201cn\u00ebn\u00ebn\u201d e tij. Showmanit nuk i intereson sesi mund t\u00eb ndihet njeriu i tallur, apo se sa fatkeq mund t\u00eb jet\u00eb ai, mjafton q\u00eb t\u00eb ket\u00eb n\u00eb duar nj\u00eb moment d\u00ebshtimi t\u00eb tij dhe nuk do ta l\u00ebr\u00eb pa e p\u00ebrdorur. Performanca n\u00eb stand-up komedin\u00eb n\u00eb \u201cPogo\u201d \u00ebsht\u00eb \u201cobservuar\u201d, \u00ebsht\u00eb xhiruar dhe i \u00ebsht\u00eb d\u00ebrguar Murrayt si video e nj\u00eb viktime q\u00eb sjell klikime. K\u00ebshtu, fatkeqi kthehet p\u00ebrfundimisht n\u00eb keqb\u00ebr\u00ebs. N\u00eb \u201cgreen room\u201d (dhoma e pritjes, ku rrin\u00eb mysafir\u00ebt para se t\u00eb dalin n\u00eb sken\u00eb), Jokeri e di se \u00e7far\u00eb do t\u00eb b\u00ebj\u00eb n\u00eb sken\u00eb, para kamer\u00ebs, prandaj n\u00eb pasqyr\u00eb ka shkruar \u201cput a smile on your face\u201d dhe tregoju se kush \u00ebsht\u00eb shakaxhiu i v\u00ebrtet\u00eb (\u00ebsht\u00eb mjaft sinjifikative edhe pamja e tij e trishtuar derisa pret ulur me shpin\u00eb kah pasqyra, nd\u00ebrsa n\u00eb murin n\u00eb an\u00ebn e majt\u00eb duket imazhi i g\u00ebzuar i Murrayt me buz\u00ebqeshje t\u00eb madhe \u201cjokeriane\u201d).<\/p>\n

Jokeri \u00ebsht\u00eb viktim\u00eb e \u201cjet\u00ebs n\u00eb kamp t\u00eb p\u00ebrqendrimit\u201d, si\u00e7 e quan Milan Kundera jet\u00ebn e survejuar. At\u00eb e kan\u00eb p\u00ebrcjell\u00eb me kamera n\u00eb spital e, po ashtu, vazhdojn\u00eb ta p\u00ebrcjellin jasht\u00eb spitalit p\u00ebr ta trajtuar si eksperiment (n\u00eb spital), ose pala\u00e7o (n\u00eb jet\u00eb). Duket se shoq\u00ebria e ka ngat\u00ebrruar karakterin e tij me rolin e tij. \u00a0Ai provon t\u00eb arg\u00ebtoj\u00eb dhe d\u00ebshton (ia marrin tabel\u00ebn nga duart dhe e rrahin; shkon p\u00ebr t\u2019i arg\u00ebtuar t\u00eb s\u00ebmur\u00ebt n\u00eb spital, por i zbulohet revolja dhe e largojn\u00eb; performon n\u00eb stand-up komedi, por askush nuk qesh),\u00a0 pastaj provon t\u00eb arg\u00ebtohet dhe ka sukses (v\u00eb mask\u00eb n\u00eb metro, tallet me polic\u00ebt, t\u00eb cil\u00ebt n\u00eb vend t\u00eb tij, vrasin dik\u00eb tjet\u00ebr; po ashtu, me sukses i realizon edhe \u201cshakat\u00eb\u201d fatale: vret tre persona n\u00eb metro dhe showman-in n\u00eb studio). Derisa provon t\u00eb jetoj\u00eb dhe t\u00eb arg\u00ebtoj\u00eb, ai dyshon edhe n\u00eb ekzistenc\u00ebn e vet, por nga momenti kur nis t\u00eb arg\u00ebtohet (dometh\u00ebn\u00eb: t\u00eb vras\u00eb), ai e kupton esenc\u00ebn dhe ekzistenc\u00ebn e vet. Neco, ergo sum (vras, pra jam). \u201cGjat\u00eb gjith\u00eb jet\u00ebs sime nuk e kam ditur n\u00ebse ekzistoj. Por un\u00eb ekzistoj dhe njer\u00ebzit kan\u00eb filluar ta v\u00ebn\u00eb re k\u00ebt\u00eb\u201d, thot\u00eb Jokeri.<\/p>\n

N\u00eb koh\u00ebn e \u201ckampit t\u00eb p\u00ebrqendrimit\u201d, pra t\u00eb survejimit total, sistemi shqet\u00ebsohet jo p\u00ebr \u00e7far\u00eb nxjerr jasht\u00eb individi, por p\u00ebr \u00e7far\u00eb ndryn brenda. Ky \u00ebsht\u00eb shqet\u00ebsimi i koh\u00ebs son\u00eb t\u00eb kontrollit virtual orwellian. Murray mendon se ai ka nj\u00eb plan, por Jokeri thjesht \u201ci l\u00eb gj\u00ebrat t\u00eb rrjedhin\u201d dhe kjo munges\u00eb logjike e tmerron sistemin, i cili me \u00e7do kusht k\u00ebrkon t\u00eb shoh\u00eb tek ai tendenc\u00ebn e individit p\u00ebr t\u2019u ngritur n\u00eb simbol. \u201cNe jemi ngopur me kuptim\u201d, do t\u00eb thoshte Baudrillard p\u00ebr t\u2019i arsyetuar veprimet e Joker-it.<\/p>\n

Jokeri v\u00ebrtet p\u00ebrfundon n\u00eb simbol p\u00ebr rebel\u00ebt, por kjo vjen natyrsh\u00ebm, jo sipas nj\u00eb plani. Jokeri s\u2019e duron jet\u00ebn \u201cfake\u201d, s\u2019e duron survejimin si n\u00eb kamp t\u00eb p\u00ebrqendrimit, prandaj i shpall luft\u00eb Hitlerit t\u00eb hiperrealitetit, nj\u00eb Hitleri q\u00eb \u00ebsht\u00eb shuma e njer\u00ebzve t\u00eb pasur q\u00eb kan\u00eb gjith\u00e7ka, pos ndjenjave humane. Duke e vrar\u00eb Murrayn, Jokeri na e kujton Marion (nga novela \u201cMario dhe magjistari\u201d e Tomas Manit), i cili e vret magjistarin n\u00eb sken\u00eb, pasi e kupton talljen q\u00eb ia ka b\u00ebr\u00eb ai para publikut, n\u00ebp\u00ebrmjet hipnoz\u00ebs.<\/p>\n

Jan\u00eb plot nj\u00ebzet e kat\u00ebr televizione q\u00eb japin lajmin p\u00ebr vrasjen n\u00eb emision, por videot e t\u00eb gjithave dominohen nga z\u00ebri i Joker-it q\u00eb \u201carsyeton\u201d vrasjet (var\u00ebsisht cili ekran fokusohet): \u201ckur trajtohesh si mbeturin\u00eb\u201d, \u201cpo t\u00eb isha un\u00eb duke vdekur n\u00eb trotuar, do t\u00eb m\u00eb kalonit p\u00ebrsip\u00ebr\u201d, \u201cp\u00ebr t\u00eb gjith\u00eb ata q\u00eb jan\u00eb shp\u00ebrfillur nga sistemi\u201d etj.<\/p>\n

Jokeri \u00ebsht\u00eb i mbushur me d\u00ebshp\u00ebrim, me \u201cblues\u201d, prandaj edhe klimaksi dramatik (vrasja e Murrayt) pasohet nga k\u00ebnga e grupit Cream, \u201cWhite room\u201d, e cila muzikalisht dhe tekstualisht shpjegon gjendjen e Jokerit n\u00eb metro, n\u00eb \u201cgreen room\u201d, n\u00eb studio, n\u00eb makin\u00eb policie, n\u00eb spital, apo n\u00eb burg.<\/p>\n

Jokeri \u00ebsht\u00eb person q\u00eb s\u2019ka \u00e7far\u00eb t\u00eb humbas\u00eb: \u201cNuk m\u00eb l\u00ebndon asgj\u00eb. Jeta ime s\u2019\u00ebsht\u00eb asgj\u00eb, pos komedi\u201d. Atij i mungon vet\u00ebbesimi dhe vet\u00ebvler\u00ebsimi, pasi t\u00eb gjith\u00eb kan\u00eb abuzuar me t\u00eb. Por, ai edhe pse e konsideron veten komik, masat nuk e konsiderojn\u00eb m\u00eb t\u00eb ul\u00ebt se veten, pasi fillimisht identifikohen me t\u00eb, pastaj e adhurojn\u00eb.<\/p>\n

Derisa muzika \u201cWhite room\u201d na rr\u00ebmben, ne shohim Jokerin sesi nga makina shikon anarkin\u00eb q\u00eb e ka shkaktuar dhe qesh. Polici, si person i sistemit q\u00eb \u00ebsht\u00eb, nuk mund ta duroj\u00eb qeshjen e tij: \u201cMjaft qeshe. Qyteti ka marr\u00eb flak\u00eb prej asaj q\u00eb b\u00ebre ti\u201d. Jokeri e shikon dhe ia kthen, me k\u00ebnaq\u00ebsi prej sadisti dhe piromani: \u201cE di. A nuk duket bukur?\u201d<\/p>\n

Jokeri, Abadoni, Vendeta<\/strong><\/p>\n

Jokeri \u00ebsht\u00eb maska q\u00eb ia heq mask\u00ebn shoq\u00ebris\u00eb, nj\u00eb pjes\u00eb e s\u00eb cil\u00ebs pozicionohet n\u00eb an\u00ebn e tij dhe mobilizohet kund\u00ebr shfryt\u00ebzuesve. N\u00eb momentin kur rebel\u00ebt v\u00ebn\u00eb maska, tregojn\u00eb fytyr\u00ebn e tyre t\u00eb v\u00ebrtet\u00eb. Veprimet e tyre shkat\u00ebrruese tregojn\u00eb se sa t\u00eb shkat\u00ebrruar jan\u00eb ata vet\u00eb, se sa t\u00eb shkat\u00ebrruara jan\u00eb jet\u00ebt e tyre. Pra, Jokeri \u00ebsht\u00eb sublimim i d\u00ebshp\u00ebrimit kolektiv, singularizim i mas\u00ebs s\u00eb shtypur e t\u00eb shfryt\u00ebzuar.<\/p>\n

Disa e kan\u00eb par\u00eb figur\u00ebn e Jokerit si figur\u00eb socialiste, por duket se nuk e kan\u00eb kuptuar shakan\u00eb regjisoriale. Kur nj\u00eb filozofe marksiste kishte th\u00ebn\u00eb se p\u00ebr t\u00eb ardhmen s\u2019na mbetet tjet\u00ebr t\u00eb zgjedhim, p\u00ebrve\u00e7 socializmit, ose barbarizmit, nuk ka mundur ta imagjinoj\u00eb figur\u00ebn e Joker-it, i cili \u00ebsht\u00eb pozicionuar kah orientimi i dyt\u00eb, barbar.<\/p>\n

Filmi \u201cJoker\u201d refuzon kategorikisht socializmin. Jokeri nuk e mban n\u00eb duar \u201cManifestin\u201d, as \u201cKapitalin\u201d, por fletoren e tij me p\u00ebrmbajtje patologjike dhe pornografike. \u00cbsht\u00eb e v\u00ebrtet\u00eb q\u00eb filmi paraqet nj\u00eb d\u00ebshp\u00ebrim ndaj t\u00eb pasurve, por d\u00ebshp\u00ebrimi \u201cbarbar\u201d ka ekzistuar para d\u00ebshp\u00ebrimit t\u00eb proletariatit. Socialisti \u00ebsht\u00eb optimist, Jokeri \u00ebsht\u00eb nihilist. Socialisti shpreson se do t\u00eb b\u00ebhet m\u00eb mir\u00eb, Jokeri shpreson q\u00eb vdekja e tij t\u00eb ket\u00eb kuptim m\u00eb shum\u00eb sesa jeta. Pra, p\u00ebrkund\u00ebr socialist\u00ebve q\u00eb shpresojn\u00eb t\u00eb jetojn\u00eb t\u00eb barabart\u00eb e t\u00eb lumtur, ai \u201cshpreson\u201d t\u00eb vdes\u00eb. Ai nga i shkat\u00ebrruar kthehet n\u00eb shkat\u00ebrrues. Nga Joker kthehet n\u00eb nj\u00eb Abadon, pasi fytyra e tij shumohet dhe shkat\u00ebrron qytetin. Komunist\u00ebt veprojn\u00eb me plan, kloun\u00ebt nuk kan\u00eb plan. Komunist\u00ebt duan t\u00eb nd\u00ebrtojn\u00eb bot\u00ebn e re, kloun\u00ebt duan vet\u00ebm ta shkat\u00ebrrojn\u00eb at\u00eb bot\u00eb q\u00eb \u00ebsht\u00eb. Joker nuk \u00ebsht\u00eb ideolog, nuk\u00a0 pranon t\u00eb politizohet. Ai qesh kur Murray e konsideron lider t\u00eb rebel\u00ebve. Ai \u00ebsht\u00eb Vendeta, \u00ebsht\u00eb Guy Fawkes (t\u00eb cilit T. S. Eliot ia kushtoi poezin\u00eb me te bukur, \u201cThe Hollow Men\u201d), i cili nuk i beson politik\u00ebs dhe vendos ta kall\u00eb jo vet\u00ebm Kuvendin, por krejt vendin. Ai nuk \u00ebsht\u00eb racional, por instiktiv dhe kjo e b\u00ebn barbar, jo socialist. \u00cbsht\u00eb e v\u00ebshtir\u00eb t\u2019i jap\u00ebsh t\u00eb drejt\u00eb Jokerit, por edhe m\u00eb e v\u00ebshtir\u00eb \u00ebsht\u00eb mos t\u2019i jap\u00ebsh t\u00eb drejt\u00eb.<\/p>\n

Morali i filmit: shteti i gangster\u00ebve t\u00eb pasur prodhon shtres\u00ebn e gangster\u00ebve t\u00eb varf\u00ebr. E, t\u00eb varfrit gjithmon\u00eb jan\u00eb m\u00eb t\u00eb rreziksh\u00ebm, sepse jan\u00eb t\u00eb pak\u00ebnaqur. T\u00eb lumturit nuk protestojn\u00eb.<\/p>\n

\u201cJoker\u201d \u00ebsht\u00eb simulacion q\u00eb stimulon. Sikur Jean Baudrillard t\u00eb mund ta shihte k\u00ebt\u00eb film, pas sken\u00ebs s\u00eb vrasjes n\u00eb studio, do t\u00eb thoshte: ai e b\u00ebri, un\u00eb e d\u00ebshirova.<\/p>\n

\n
\n

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

Filmi \u201cJoker\u201d i regjisorit Tod Phillips \u00ebsht\u00eb vep\u00ebr q\u00eb n\u00ebp\u00ebrmjet bot\u00ebs fiksionale interpreton bot\u00ebn ton\u00eb reale. Ky film, i kthyer n\u00eb opium p\u00ebr publikun q\u00eb nga dita e premier\u00ebs, \u00ebsht\u00eb film problematik dhe problematizues: problematik, sepse duket sikur nxit dhun\u00eb, protesta, revolucione,vandaliz\u00ebm; problematizues, sepse e trajton barbarizmin si alternativ\u00eb potenciale t\u00eb shteteve oligarkike dhe shoq\u00ebrive […]<\/p>","protected":false},"author":378,"featured_media":9225,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[957,506,1322],"ppma_author":[372],"class_list":["post-5388","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-film","tag-joker","tag-kritike"],"authors":[{"term_id":372,"user_id":378,"is_guest":0,"slug":"ag-apolloni","display_name":"Ag Apolloni","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/11\/download-1.jpg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/11\/download-1.jpg"},"user_url":"","last_name":"Apolloni","first_name":"Ag","description":"Ag Apolloni \u00ebsht\u00eb shkrimtar dhe profesor n\u00eb Universitetin e Prishtin\u00ebs. Gjat\u00eb viteve 2010-2012, ka qen\u00eb kryeredaktor n\u00eb revist\u00ebn letrare \u201cJeta e Re\u201d, nd\u00ebrsa nga viti 2013 \u00ebsht\u00eb kryeredaktor i revist\u00ebs p\u00ebr studime kulturore \u201cSymbol\u201d (an\u00ebtare e rrjetit t\u00eb revistave evropiane Eurozine), ku ka realizuar intervista me personalitete t\u00eb njohura letrare e kulturore, si: Linda Hutcheon, Jonathan Culler, Gottfried Helnwein, D. M. Thomas, Javier Cercas, Mieke Bal, David Damrosch, Stanley Fish etj. \u00cbsht\u00eb autor i kat\u00ebr romaneve (Ulurima e Ujkut, Zazen, Nj\u00eb fije shprese, nj\u00eb fije shkrep\u00ebse dhe K\u00ebsul\u00ebkuqja, p\u00ebrrall\u00eb p\u00ebr t\u00eb rritur), si dhe i disa librave me studime letrare, ese, drama dhe poezi. Veprat e tij jan\u00eb p\u00ebrkthyer n\u00eb disa gjuh\u00eb dhe jan\u00eb shp\u00ebrblyer me disa \u00e7mime."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/5388","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\/378"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=5388"}],"version-history":[{"count":2,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/5388\/revisions"}],"predecessor-version":[{"id":9224,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/5388\/revisions\/9224"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/9225"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=5388"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=5388"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=5388"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=5388"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}