{"id":5972,"date":"2020-04-27T15:42:08","date_gmt":"2020-04-27T13:42:08","guid":{"rendered":"https:\/\/sbunker.org\/?p=5972"},"modified":"2024-10-15T15:47:17","modified_gmt":"2024-10-15T13:47:17","slug":"birdman-i-perverti-i-martin-eden-it","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/birdman-i-perverti-i-martin-eden-it\/","title":{"rendered":"\u201cBirdman\u201d-i, perverti i Martin Eden-it"},"content":{"rendered":"
\n

1.<\/p>\n

“Birdman\u201d \u00ebsht\u00eb film i vitit 2014 i regjisorit t\u00eb njohur meksikan, Alejandro Gonz\u00e1lez I\u00f1\u00e1rritu. U nominua n\u00eb n\u00ebnt\u00eb kategori p\u00ebr \u00e7mimet \u201cOscar\u201d t\u00eb vitit 2015. Bashk\u00eb me \u201cThe Grand Budapest Hotel\u201d, m\u00eb s\u00eb shumti nominime. Fitues n\u00eb kat\u00ebr syresh, m\u00eb s\u00eb shumti, po aq sa \u201cThe Grand Budapest Hotel\u201d, s\u00ebrish. Ngjarja e filmit b\u00ebn fjal\u00eb p\u00ebr personazhin Riggan Thomson, nj\u00eb aktor teatri, dikur me fam\u00eb, por tash i obsesionuar pas rikthimit n\u00eb piedestalin e lavdis\u00eb.<\/p>\n

Riggan-i (Michael Keaton) kishte arritur kulmin e karrier\u00ebs dhe t\u00eb fam\u00ebs dikur me rolin e \u201cBirdman\u201d-it, njeriut-zog, n\u00eb nj\u00eb film me nam me rolin kryesor t\u00eb \u201cBirdman\u201d-it superhero, por q\u00eb me koh\u00eb ishte harruar, si\u00e7 ishte zvet\u00ebnuar edhe fama e Riggan-it. T\u00ebr\u00eb koh\u00ebn atij i flet n\u00eb vesh \u201cRiggani tjet\u00ebr\u201d, personazhi i \u201cBirdman\u201d-it, nj\u00ebfar\u00eblloj nd\u00ebrdije e tij e ndrydhur. Ia t\u00ebrheq v\u00ebmendjen mbi d\u00ebshtimin e tij n\u00eb karrier\u00eb dhe n\u00eb jet\u00eb. Kjo e nxit Riggan-in q\u00eb me \u00e7do kusht t\u00eb kthehet n\u00eb aur\u00ebn e shk\u00eblqimit t\u00eb tij t\u00eb dikursh\u00ebm p\u00ebrmes shfaqjeve n\u00eb nj\u00eb nga teatrot e tij n\u00eb Broadway. Dhe p\u00ebr k\u00ebt\u00eb \u00ebsht\u00eb gati t\u00eb b\u00ebj\u00eb \u00e7mos. B\u00ebhet vet\u00eb aktor, regjisor e drejtues i teatrit. Iu sulet kritik\u00ebve t\u00eb artit. P\u00ebrzgjedh e refuzon me arroganc\u00eb aktor\u00ebt. Xhindoset pse aktor\u00ebt tjer\u00eb po fitojn\u00eb v\u00ebmendje m\u00eb shum\u00eb se ai vet\u00eb.<\/p>\n

M\u00eb n\u00eb fund i vjen fama. Pak nga \u201cflirti\u201d q\u00eb b\u00ebn me komercialen, me rrjetet sociale e at\u00eb q\u00eb e k\u00ebrkonte publiku (ndon\u00ebse pa q\u00ebllim, i rastis t\u00eb ec n\u00ebp\u00ebr rrug\u00eb lakuriq, duke marr\u00eb fam\u00eb n\u00eb Twitter e n\u00eb lajme), e pak nga suksesi i shfaqjes s\u00eb tij \u201cWhat We Talk About When We Talk About Love\u201d (\u201cP\u00ebr \u00e7far\u00eb flasim, kur flasim p\u00ebr dashurin\u00eb?\u201d), ku, nd\u00ebr t\u00eb tjera, krejt n\u00eb sken\u00ebn e fundme, pjes\u00ebn e vet\u00ebvrasjes ai tenton ta kryej me nj\u00eb arm\u00eb t\u00eb v\u00ebrtet\u00eb. Shp\u00ebton, nuk vdes, dhe sh\u00ebrohet n\u00eb spital. Fama e tij e kishte arritur ve\u00e7se kulmin. \u201cBirdman\u201d-in q\u00eb i p\u00ebshp\u00ebriste n\u00eb nd\u00ebrdije e l\u00eb pa fjal\u00eb. Tashm\u00eb Riggan-i kishte arritur fam\u00ebn dhe ai s\u2019kishte \u00e7\u2019t\u00eb thoshte. Por, sheh zogj\u00ebt e v\u00ebrtet\u00eb nga dritarja, del n\u00eb dritare, niset nga ta dhe\u2026 kur kthehet e bija e tij n\u00eb dhom\u00eb, ai s\u2019\u00ebsht\u00eb m\u00eb aty. Ajo buz\u00ebqesh. Filmi p\u00ebrfundon.<\/p>\n

I\u00f1\u00e1rritu\u00a0edhe m\u00eb par\u00eb njihej me filmat e tij social\u00eb dhe fatalist\u00eb, sidomos me \u201cBiutiful\u201d (2010). Dalja e \u201cBirdman\u201d-it u prit mir\u00eb edhe nga audienca e kinemave edhe nga kritik\u00ebt e filmit. Richard Brody tek \u201cThe New Yorker\u201d do ta cil\u00ebsonte filmin si \u2018godardian\u2019, edhe pse pa thell\u00ebsin\u00eb dhe mjesht\u00ebrin\u00eb e filmave t\u00eb Jean-Luc Godard-it. Kurse, Manohla Dargis n\u00eb \u201cNew York Times\u201d do ta krahasonte personazhin kryesor t\u00eb filmit me Ikarin e mitologjis\u00eb antike greke dhe me fluturimin e tij t\u00eb famsh\u00ebm.<\/p>\n

Filmi i I\u00f1\u00e1rritu-s \u00ebsht\u00eb pleksje filozofike e kot\u00ebsis\u00eb s\u00eb suksesit komercial. \u00cbsht\u00eb filozofi e p\u00ebrpjekjes s\u00eb njeriut drejt plot\u00ebnis\u00eb. Filozofi amerikan, Stanley Cavell, thot\u00eb se kinemaja, sikurse filozofia, merret n\u00eb m\u00ebnyr\u00eb inherente me skepticizmin dhe shtjellon shqet\u00ebsimet e e nj\u00ebllojta sikurse t\u00eb filozofis\u00eb. Edhe \u201cBirdman\u201d-i, sado cek\u00ebt, ngrit shum\u00eb pyetje filozofike (\u201cT\u00eb ngrit\u00ebsh pyetje \u00ebsht\u00eb m\u00eb e r\u00ebnd\u00ebsishme se t\u00eb jap\u00ebsh p\u00ebrgjigjie\u201d, thot\u00eb nj\u00eb personazh i filmit \u201cLe Petit Soldat\u201d t\u00eb Godard-it) mbi komodifikimin e trupit, mbi profesionin e aktorit (kur Lesley e pyet Laura-n: \u201cpse s\u2019kam fare vet\u00ebresekt\u201d, ajo i p\u00ebrgjigjet: \u201csepse je aktore\u201d), mbi marr\u00ebdh\u00ebniet bab\u00eb-bij\u00eb, mbi dekadenc\u00ebn, nihilizmin, individualizmin, skepticizmin, injoranc\u00ebn, etj.<\/p>\n

2.<\/p>\n

Jack London-i, i mbiquajtur si nj\u00eb prej mohikan\u00ebve t\u00eb fundit t\u00eb demokracis\u00eb n\u00eb let\u00ebrsin\u00eb amerikane, shkroi m\u00eb 1909 romanin e tij \u201cMartin Eden\u201d, ku shtjellon jet\u00ebn e nj\u00eb personazhi, nj\u00eb proletari q\u00eb \u00ebnd\u00ebrron t\u00eb b\u00ebhet shkrimtar i madh, ve\u00e7an\u00ebrisht p\u00ebr t\u2019i l\u00ebn\u00eb mbresa Ruth Morse-it, vajz\u00ebs q\u00eb e donte. Ai b\u00ebn gjith\u00e7ka n\u00eb jet\u00eb, shet e jep me qera \u00e7do gj\u00eb vet\u00ebm e vet\u00ebm q\u00eb t\u00eb kishte t\u00eb holla p\u00ebr t\u2019ua d\u00ebrguar sht\u00ebpive botuese dor\u00ebshkrimet e tij. Ato refuzohen nj\u00eb pas nj\u00eb. Nj\u00ebjt\u00eb si\u00e7 refuzohet edhe \u00ebndja e tij p\u00ebr t\u2019u b\u00ebr\u00eb shkrimtar i madh e k\u00ebsisoj edhe gjasat q\u00eb t\u00eb p\u00eblqehej nga Ruth-i. Por, pas shum\u00eb vitesh e pas shum\u00eb faqeve t\u00eb romanit t\u00eb London-it, ndodh e papritura. Nj\u00eb nga dor\u00ebshkrimet e tij pranohet, botohet dhe merr dhen\u00eb anemban\u00eb vendit. Ai m\u00eb n\u00eb fund \u00ebsht\u00eb b\u00ebr\u00eb i famsh\u00ebm.<\/p>\n

Por, tani q\u00eb Ruth-i i kthehet, ai nuk e pranon dashurin\u00eb e saj. Ai nuk e pranon m\u00eb as fam\u00ebn q\u00eb fitoi. P\u00ebshtirosej nga veset e shoq\u00ebris\u00eb snobiste. E neveriste tani edhe paraja edhe fama. S\u2019po arrinte ta shijonte at\u00eb p\u00ebr t\u00eb cil\u00ebn ishte p\u00ebrpjekur me aq sfilitje. Dhe ja si p\u00ebrfundon romani, teksa ai kridhet nga varka ku po lundronte n\u00eb det: \u201cAt\u00ebher\u00eb duart dhe k\u00ebmb\u00ebt zun\u00eb t\u2019i l\u00ebvizin ngadal\u00eb dhe pa fuqi. Po tashti s\u2019ishin m\u00eb n\u00eb gjendje t\u2019i vinin n\u00eb ndihm\u00eb vullnetit p\u00ebr t\u00eb jetuar, q\u00eb i b\u00ebnte t\u00eb l\u00ebviznin e t\u00eb p\u00ebrplaseshin rreth e rrotull. N\u00eb at\u00eb \u00e7ast ndodhej tep\u00ebr thell\u00eb dhe ato s\u2019mund ta ngrinin m\u00eb kurr\u00eb mbi sip\u00ebrfaqe. I dukej sikur po lundronte n\u00ebp\u00ebr nj\u00eb det t\u00eb pafund vegimesh\u2026 Vet\u00ebm kaq kuptoi! Kish r\u00ebn\u00eb n\u00eb nj\u00eb humner\u00eb t\u00eb err\u00ebt. Dhe, sa e kuptoi k\u00ebt\u00eb, e humbi vet\u00ebdijen p\u00ebr gjithmon\u00eb.\u201d<\/p>\n

3.<\/p>\n

Sikurse tek Riggan-i, edhe fundi i Martin Eden-it t\u00eb sh\u00ebmb\u00ebllen m\u00eb shum\u00eb me nj\u00eb fund aq t\u00eb dashur e t\u00eb lakmuesh\u00ebm sesa me nj\u00eb vet\u00ebvrasje. Q\u00eb t\u00eb dy kishin p\u00ebrbuzur t\u00eb mirat materiale dhe fam\u00ebn e nj\u00eb \u201cSoci\u00e9t\u00e9 du spectacle\u201d n\u00eb kondita t\u00ebhuajsimi dhe me nihiliz\u00ebm po k\u00ebrkonin nj\u00eb shkall\u00eb m\u00eb t\u00eb lart\u00eb vet\u00ebk\u00ebnaq\u00ebsie, nj\u00eb t\u00eb atill\u00eb n\u00eb amshim.<\/p>\n

Por ku dallojn\u00eb \u201cBirdman\u201d-i dhe Martin Eden-i? I pari e ka provuar nj\u00eb her\u00eb fam\u00ebn dhe n\u00eb fund e kupton kot\u00ebsin\u00eb e saj, lufton me instiktin e tij egoist (lexo: nd\u00ebrdijen \u201cBirdman\u201d). I dyti ngarend pas saj t\u00ebr\u00eb jet\u00ebn dhe n\u00eb fund e kupton se s\u2019po ia vleka n\u00eb at\u00eb shoq\u00ebri ku komodifikohet gjith\u00e7ka, edhe qenia. Pra, \u201cBirdman\u201d-i \u00ebsht\u00eb nj\u00eb p\u00ebrmbysje e Martin Eden-it. \u00cbsht\u00eb lexim i mbrapsht i tij. \u201cBirdman\u201d-i dhe Martin Eden-i jan\u00eb pervertja, \u00e7oroditja, p\u00ebrmbysja e shoqi-shoqit. Jan\u00eb i bab\u00ebzituri dhe i iluminuari. I pari lakmon fam\u00ebn p\u00ebr lavdi. I dyti k\u00ebrkon k\u00ebrkon fam\u00ebn p\u00ebr dashuri. I pari vdes p\u00ebr fam\u00eb; i dyti b\u00ebhet i famsh\u00ebm p\u00ebr t\u00eb vdekur. Por q\u00eb t\u00eb dy k\u00ebta personazhe jan\u00eb, si\u00e7 e thoshte m\u00eb von\u00eb vet\u00eb London-i p\u00ebr romanin e tij, nj\u00eb \u201cgoditje ndaj individualizmit\u201d. \u201cIndividualizmi \u00ebsht\u00eb fasad\u00eb prapa s\u00eb cil\u00ebs fshehet d\u00ebshtimi p\u00ebr t\u00eb arritur nj\u00eb sens individual identiteti\u201d, shkruante Erik Fromi tek “Shoq\u00ebria e sh\u00ebndosh\u00eb”. Nj\u00eb gjendje depresioni ku trupi \u00ebsht\u00eb i gjall\u00eb, por nuk ndien hi\u00e7gj\u00eb. Nj\u00eb paaft\u00ebsi p\u00ebr t\u00eb ndier, nj\u00eb vdekje e shqisave. E kund\u00ebrta e tij – lumturia si eksperienc\u00eb e t\u00eb jetuarit n\u00eb m\u00ebnyr\u00eb produktive dhe zbules\u00eb e vetvetes; si p\u00ebrjetim i t\u00ebr\u00ebsis\u00eb q\u00eb nuk zbulohet dot n\u00eb pasivitetin e internalizuar. K\u00ebtu q\u00ebndron kuintesenca e k\u00ebtyre dy veprave artistike \u2013 arti \u00ebsht\u00eb kulmim pasionant drejt lumturis\u00eb dhe jo neps konsumerist p\u00ebr egon.<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

1. “Birdman\u201d \u00ebsht\u00eb film i vitit 2014 i regjisorit t\u00eb njohur meksikan, Alejandro Gonz\u00e1lez I\u00f1\u00e1rritu. U nominua n\u00eb n\u00ebnt\u00eb kategori p\u00ebr \u00e7mimet \u201cOscar\u201d t\u00eb vitit 2015. Bashk\u00eb me \u201cThe Grand Budapest Hotel\u201d, m\u00eb s\u00eb shumti nominime. Fitues n\u00eb kat\u00ebr syresh, m\u00eb s\u00eb shumti, po aq sa \u201cThe Grand Budapest Hotel\u201d, s\u00ebrish. Ngjarja e filmit b\u00ebn […]<\/p>","protected":false},"author":411,"featured_media":8361,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[1304,957,954],"ppma_author":[768],"class_list":["post-5972","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-birdman","tag-film","tag-filozofi"],"authors":[{"term_id":768,"user_id":411,"is_guest":0,"slug":"fitim-salihu","display_name":"Fitim Salihu","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/11\/Fitim-Salihu-e1701268592693.png","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/11\/Fitim-Salihu-e1701268592693.png"},"user_url":"","last_name":"Salihu","first_name":"Fitim","description":"Fitim Salihu \u00ebsht\u00eb politolog dhe merret kryesisht me studime kulturore e me studime t\u00eb Marr\u00ebdh\u00ebnieve Nd\u00ebrkomb\u00ebtare, me theks t\u00eb ve\u00e7ant\u00eb p\u00ebr Lindjen e Mesme, ShBA-n\u00eb dhe Amerik\u00ebn Latine. P\u00ebr nj\u00eb koh\u00eb ka punuar si redaktor i kultur\u00ebs n\u00eb gazet\u00ebn \"Z\u00ebri\", shkruan si kolumnist p\u00ebr gazet\u00ebn kroate \"Bilten\" dhe punon si hulumtues shkencor p\u00ebr disa institute vendore e t\u00eb jashtme."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/5972","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\/411"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=5972"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/5972\/revisions"}],"predecessor-version":[{"id":8362,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/5972\/revisions\/8362"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/8361"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=5972"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=5972"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=5972"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=5972"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}