{"id":518264,"date":"2022-04-17T18:14:17","date_gmt":"2022-04-17T16:14:17","guid":{"rendered":"https:\/\/www.hashtag.al\/?p=518264"},"modified":"2022-04-17T18:14:17","modified_gmt":"2022-04-17T16:14:17","slug":"imazhet-e-detyrueshme-te-roland-s","status":"publish","type":"post","link":"https:\/\/www.hashtag.al\/index.php\/2022\/04\/17\/imazhet-e-detyrueshme-te-roland-s\/","title":{"rendered":"Imazhet e detyrueshme t\u00eb Roland S.","gt_translate_keys":[{"key":"rendered","format":"text"}]},"content":{"rendered":"

\"\"<\/em><\/strong><\/span><\/p>\n

Nga Andi Bushati<\/em><\/strong><\/span><\/p>\n

K\u00ebt\u00eb fundjav\u00eb pak m\u00eb t\u00eb gjat\u00eb se t\u00eb tjerat ma b\u00ebri krejt t\u00eb ve\u00e7ant\u00eb nj\u00eb nga ato surpriza kulturore t\u00eb cilat kemi fatin ti shijojm\u00eb rall\u00eb e m\u00eb rall\u00eb. Si nj\u00eb dhurat\u00eb befasuese pata rastin t\u00eb shijoj filmin e fundit t\u00eb regjizorit Roland Sejko, \u201cLa Macchina delle immagini di Alfredo C\u201d (Makina e imazheve t\u00eb Alfredo C). <\/span><\/p>\n

Si mik dhe si artist atij i kam par\u00eb pothuajse gjith\u00e7ka, q\u00eb nga dokumentari \u201cShqip\u00ebria, vendi p\u00ebrball\u00eb\u201d, ku t\u00eb befason skrupoloziteti i rijet\u00ebsimit t\u00eb pamjeve t\u00eb arkiavave dhe deri tek \u201cAnija\u201d, q\u00eb nd\u00ebrthur element\u00ebt autobiografik\u00eb t\u00eb largimit t\u00eb r\u00ebmujsh\u00ebm nga vendi me ato t\u00eb fatit t\u00eb mijra emigrant\u00ebve shqiptar\u00ebve.<\/span><\/p>\n

Por, dokufilmi i fundit \u00ebsht\u00eb v\u00ebrtet\u00eb nj\u00eb dhurat\u00eb e \u00e7muar p\u00ebr k\u00ebdo q\u00eb ka nostalgji p\u00ebr magjin\u00eb e kinemas\u00eb s\u00eb dikurshme, p\u00ebr k\u00ebdo q\u00eb ka k\u00ebrsh\u00ebri p\u00ebr historin\u00eb e totalitarizmave t\u00eb shekullit t\u00eb shkuar, p\u00ebr k\u00ebdo q\u00eb e ngacmon p\u00ebrthyerja e fateve njer\u00ebzore nga kapri\u00e7ot tekanjoze t\u00eb ngritjes dhe r\u00ebnies s\u00eb regjimeve.<\/span><\/p>\n

Fabula nga e cila Roland Sejko ka marr\u00eb shkas \u00ebsht\u00eb n\u00eb vetvete nj\u00eb histori e \u00e7uditshme. Ajo niset nga aventura e nj\u00eb kameramani italian, t\u00eb institutit Luce, i nj\u00ebjti vend ku regjizori shqiptar punon sot, i cili e kishte perfeksionuar artin e tij duke filmuar manifestimet grandioze t\u00eb Du\u00e7es n\u00eb sheshin Venecia.<\/span><\/p>\n

Tekat e fatit e hedhin at\u00eb n\u00eb Shqip\u00ebri. Filmon po nj\u00ebsoj pushtimin italian t\u00eb 7 prillit, instalimin e regjimit fashist k\u00ebtu tek ne, luft\u00ebn italo-greke n\u00eb majat me bor\u00eb t\u00eb malit t\u00eb Gramozit dhe s\u00eb fundi, krejt \u00e7uditsh\u00ebm, b\u00ebhet nj\u00eb nga 27 mij\u00eb italiant\u00eb q\u00eb \u201cmerren peng\u201d nga regjimi komunist pas p\u00ebrfundimit t\u00eb luft\u00ebs s\u00eb dyt\u00eb bot\u00ebrore.<\/span><\/p>\n

Si i till\u00eb duhet t\u00eb fiksoj\u00eb n\u00eb celuloid, paradat e nj\u00eb tjet\u00ebr diktature. \u201cHoxha ndryshe nga Musolini nuk e kishte bezdi t\u00eb filmohej nga pas\u201d, rr\u00ebfen naratori protagonist.<\/span><\/p>\n

Dhe k\u00ebshtu p\u00ebrmes telekamer\u00ebs me manivel, ritmin e s\u00eb cil\u00ebs e mban duke k\u00ebnduar, Alfredo C. skicon p\u00ebrmes imazheve bardh\u00eb e zi profilin e dy diktaturave, aq t\u00eb ndryshme n\u00eb thelb, por aq t\u00eb ngjashme kur i v\u00ebshtron pas telekamer\u00ebs, me syrin e atij \u201cq\u00eb duhet t\u00eb q\u00ebndroj\u00eb i padep\u00ebrtuesh\u00ebm p\u00ebrball\u00eb ritmit t\u00eb ngjarjeve\u201d.\u00a0<\/span><\/p>\n

Natyrisht, si nj\u00eb rr\u00ebmues i zellsh\u00ebm i arkivave, prej ku zbuloi historin\u00eb e pararadh\u00ebsit t\u00eb vet n\u00eb instituto Luce, Roland Sejko ka nd\u00ebrthurur n\u00eb filmin e tij edhe fiksionin apo z\u00ebrat e shum\u00eb italian\u00ebve t\u00eb tjer\u00eb, q\u00eb ashtu si personazhi i romanit \u201cNjeriu me top\u201d, mbet\u00ebn n\u00eb malet tona, pas kapitullimit t\u00eb Italis\u00eb dhe m\u00eb tej akoma pas p\u00ebrfundimit t\u00eb konfliktit bot\u00ebror.<\/span><\/p>\n

Prej tyre \u00ebsht\u00eb p\u00ebrftuar nj\u00eb vep\u00ebr q\u00eb, ndon\u00ebse na duket sikur ia kemi njohur historin\u00eb, s\u00ebrish mbetet befasuese, ndon\u00ebse ia kemi shikuar edhe m\u00eb par\u00eb imazhet, s\u00ebrish na godet, me p\u00ebrzgjedhjen, renditjen dhe v\u00ebnien e tyre n\u00eb funksion t\u00eb nj\u00eb ideje.\u00a0<\/span><\/p>\n

Tek \u201cLa Macchina delle immagini di Alfredo C\u201d, mund t\u00eb zhyten leht\u00ebsisht edhe t\u00eb pasionuarit e historis\u00eb, por mund ta shijojn\u00eb estetikisht edhe ata q\u00eb nuk len\u00eb mend pas t\u00eb shkuar\u00ebs, mund t\u00eb dashurohen nostalgjik\u00ebt e kinemas\u00eb, por pa bezdisur aspak gjenerat\u00ebn e efekteve dixhitale, ajo mund t\u00eb b\u00ebj\u00eb p\u00ebr vete si ata q\u00eb duan t\u00eb ruajn\u00eb n\u00eb m\u00ebnyr\u00eb fanatike kujtes\u00ebn, po ashtu edhe ata q\u00eb u intereson nj\u00eb fat i thjesht\u00eb njer\u00ebzor.<\/span><\/p>\n

Natyrisht, q\u00ebllimi i k\u00ebtyre radh\u00ebve nuk \u00ebsht\u00eb t\u00eb b\u00ebj\u00eb kritik\u00ebn e nj\u00eb filmi q\u00eb tashm\u00eb \u00ebsht\u00eb zgjedhur mes qindra t\u00eb tjer\u00ebve si konkurent p\u00ebr \u00e7mimin m\u00eb prestigjoz italian n\u00eb kategorin\u00eb e dokumentar\u00ebve, \u201cDavid di Donatello\u201d, q\u00eb ka marr\u00eb v\u00ebmendjen e mediave m\u00eb prestigjize t\u00eb bregut tjet\u00ebr t\u00eb Adriatikut dhe q\u00eb po b\u00ebn aty xhiron e kinemave.\u00a0\u00a0<\/span><\/p>\n

Synimi \u00ebsht\u00eb diku tjet\u00ebr. Esht\u00eb t\u00eb b\u00ebj\u00eb apel q\u00eb ngjarje t\u00eb tilla, t\u00eb ralla kulturore, t\u00eb mos kufizohen vet\u00ebm me p\u00ebrkthimin rapa zhdrapa t\u00eb ndonj\u00eb titulli t\u00eb mar\u00eb copy paste nga mediat e huaja. As t\u00eb mos varrosen n\u00eb hierarkin\u00eb fatkeq\u00ebsisht t\u00eb ul\u00ebt t\u00eb \u201clajmeve kulturore\u201d, duke u renditur p\u00ebrkrah titujve q\u00eb i b\u00ebjn\u00eb jehon\u00eb ndonj\u00eb bashk\u00ebpatrioteje q\u00eb ka b\u00ebr\u00eb buj\u00eb me shfaqen e ekzagjeruar t\u00eb gjoksit gjat\u00eb parakalimeve n\u00eb Oscar.<\/span><\/p>\n

Mes varf\u00ebris\u00eb r\u00ebnqeth\u00ebse t\u00eb nj\u00eb skene t\u00eb dominuar nga telenovelat turke, ku rolin e regjizor\u00ebve po e luajn\u00eb humorist\u00ebt banal\u00eb dhe at\u00eb t\u00eb influencuesve personazhet e \u201cP\u00ebrputhen\u201d, ku gjykimi p\u00ebr historin\u00eb kufizohet n\u00eb sherrnaj\u00ebn p\u00ebr dat\u00ebn e \u00e7lirimit dhe ai p\u00ebr t\u00eb sotmen n\u00eb sasin\u00eb e gryk\u00ebsis\u00eb t\u00eb Edit apo Saliut, ndodhi t\u00eb tilla jan\u00eb nj\u00eb luks.\u00a0\u00a0<\/span><\/p>\n

Vepra si \u201cLa Macchina\u2026\u201d na b\u00ebjn\u00eb m\u00eb t\u00eb prekshme t\u00eb shkuar\u00ebn ton\u00eb, na yshtim t\u00eb reflektojm\u00eb p\u00ebr raportin e njeriut me p\u00ebrthyerjet e historis\u00eb, na nxisin t\u00eb mendojm\u00eb p\u00ebr raportin e shtremb\u00ebr q\u00eb kemi v\u00ebn\u00eb me konservimin e kujtes\u00ebs. <\/span><\/p>\n

K\u00ebto jan\u00eb arsye t\u00eb mjaftueshme q\u00eb filmi i Roland Sejkos t\u00eb vij\u00eb sa m\u00eb shpejt tek publiku shqiptar. Jo vet\u00ebm p\u00ebr tu par\u00eb dhe shijuar, por mbi t\u00eb gjitha si mund\u00ebsi p\u00ebr t\u00eb debatuar.<\/span><\/p>\n

VINI RE<\/strong><\/span>: Ky material \u00ebsht\u00eb pron\u00ebsi intelektuale e Lapsi<\/a><\/span><\/span><\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"excerpt":{"rendered":"

Nga Andi Bushati K\u00ebt\u00eb fundjav\u00eb pak m\u00eb t\u00eb gjat\u00eb se t\u00eb tjerat ma b\u00ebri krejt t\u00eb ve\u00e7ant\u00eb nj\u00eb nga ato surpriza kulturore t\u00eb cilat kemi fatin ti shijojm\u00eb rall\u00eb e m\u00eb rall\u00eb. Si nj\u00eb dhurat\u00eb befasuese pata rastin t\u00eb shijoj filmin e fundit t\u00eb regjizorit Roland Sejko, \u201cLa Macchina delle immagini di Alfredo C\u201d (Makina […]<\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"author":51,"featured_media":518265,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[20],"tags":[],"class_list":["post-518264","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog"],"gt_translate_keys":[{"key":"link","format":"url"}],"_links":{"self":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts\/518264","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/users\/51"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/comments?post=518264"}],"version-history":[{"count":0,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts\/518264\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/media\/518265"}],"wp:attachment":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/media?parent=518264"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/categories?post=518264"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/tags?post=518264"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}