{"id":6167,"date":"2021-01-22T17:57:00","date_gmt":"2021-01-22T17:57:00","guid":{"rendered":"https:\/\/dwp-balkan.org\/staging\/?p=6167"},"modified":"2022-06-17T17:59:44","modified_gmt":"2022-06-17T17:59:44","slug":"mendoni-per-ne-zonje-miss-stone-dhe-vete-performanca-kolektiv","status":"publish","type":"post","link":"https:\/\/dwp-balkan.org\/staging\/sq\/mendoni-per-ne-zonje-miss-stone-dhe-vete-performanca-kolektiv\/","title":{"rendered":"“Mendoni p\u00ebr ne, zonj\u00eb”: “Miss Stone” dhe vet\u00eb-performanca kolektiv"},"content":{"rendered":"
<\/div>\n

Hyrje<\/p>\n\n\n\n

Sipas nj\u00eb teze t\u00eb vjet\u00ebr t\u00eb poetit gjerman Rilke, “Bukuroshja \u00ebsht\u00eb velloja e fundit q\u00eb mbulon Tmerrin”. Ndoshta mund ta zbatojm\u00eb k\u00ebt\u00eb tez\u00eb n\u00eb zhvillimin e kinematografis\u00eb maqedonase, duke imagjinuar se temat k\u00ebrcejn\u00eb n\u00eb nj\u00eb tel, mbi t\u00eb cilin, n\u00eb nj\u00ebrin skaj, q\u00ebndron patosi i glorifikimit t\u00eb s\u00eb kaluar\u00ebs si Bukuri e veshur me barok, dhe n\u00eb skajin tjet\u00ebr q\u00ebndron mjerimi kalimtar, margjinalizimi dhe d\u00ebshtimi. si nj\u00eb Tmerr i qart\u00eb. Sidoqoft\u00eb, un\u00eb vendos n\u00eb k\u00ebt\u00eb blog t’i qasem tem\u00ebs time p\u00ebrtej dep\u00ebrtimit t\u00eb Rilke, n\u00eb m\u00ebnyr\u00eb naive dhe pa p\u00ebrsosm\u00ebri akademike. Kjo mund t\u00eb jet\u00eb nj\u00eb qasje e mir\u00eb n\u00ebse dikush d\u00ebshiron t\u00eb shikoj\u00eb n\u00eb periferin\u00eb dhe diferenc\u00ebn nd\u00ebrsa \u00ebsht\u00eb i vet\u00ebdijsh\u00ebm p\u00ebr privilegjet e veta. Q\u00ebllimi i k\u00ebtij blogu \u00ebsht\u00eb t\u00eb analizoj\u00eb motivet e margjinalitetit dhe periferis\u00eb n\u00eb filmin maqedonas si hap\u00ebsira n\u00eb t\u00eb cilat jan\u00eb nd\u00ebrtuar dhe shkat\u00ebrruar stereotipet p\u00ebr “Ne” dhe “Tjetri” dhe si k\u00ebto motive ndikuan n\u00eb formimin e “pik\u00ebpamjes maqedonase” brenda dhe  jasht\u00eb, n\u00eb gjenerata t\u00eb ndryshme filmike. P\u00ebr at\u00eb q\u00ebllim, blogu \u00ebsht\u00eb i ndar\u00eb n\u00eb dy pjes\u00eb, duke ndjekur nj\u00eb logjik\u00eb kronologjike, sipas s\u00eb cil\u00ebs zhvillimi i kinematografis\u00eb bashk\u00ebkohore maqedonase \u00ebsht\u00eb i ndar\u00eb n\u00eb dy pjes\u00eb m\u00eb t\u00eb m\u00ebdha: e t\u00ebra i referohet fillimeve t\u00eb organizimit institucional t\u00eb kinematografis\u00eb n\u00eb vend, e cila fillon me themelimin e Komisionit t\u00eb Kinematografis\u00eb t\u00eb Maqedonis\u00eb dhe kompania e par\u00eb e prodhimit “Vardar Film” n\u00eb 1947. Teoricien\u00ebt e filmit vendas gjithashtu i referohen asaj periudhe si “Fillimi i Dyt\u00eb i Filmit Maqedonas”, p\u00ebr ta ndar\u00eb at\u00eb nga bota e hershme e filmit e v\u00ebllez\u00ebrve Manaki dhe larmia e filmave dhe autor\u00ebve nga periudha midis dy luft\u00ebrave bot\u00ebrore dhe p\u00ebr ta sjell\u00eb at\u00eb m\u00eb af\u00ebr periudh\u00ebs socialiste; Faza e dyt\u00eb u referohet autor\u00ebve q\u00eb krijojn\u00eb n\u00eb mij\u00ebvje\u00e7arin e ri dhe n\u00eb nj\u00eb periudh\u00eb t\u00eb sh\u00ebnuar nga tranzicioni dhe sfidat e pavar\u00ebsis\u00eb s\u00eb shtetit pas 1991. Nga vitet e trazuara 1990 n\u00eb rajon e deri m\u00eb sot, gjenerata t\u00eb reja, t\u00eb guximshme bashk\u00ebkohore t\u00eb kineast\u00ebve po p\u00ebrcaktohen ngadal\u00eb, ve\u00e7an\u00ebrisht n\u00eb dekad\u00ebn e fundit.<\/p>\n\n\n\n

“Mendoni p\u00ebr ne, zonj\u00eb”: “Miss Stone” dhe vet\u00eb-performanca kolektive<\/strong><\/p>\n\n\n\n

“Mendoni p\u00ebr ne, Katerino, e di q\u00eb keni pasur nj\u00eb koh\u00eb t\u00eb v\u00ebshtir\u00eb me ne, por ndonj\u00ebher\u00eb mendoni edhe p\u00ebr ne.” – Krsto Asenov p\u00ebr Katerina Cilka (“Miss Stone”, Vardar Film, 1958)<\/p>\n\n\n\n

Kulturologu slloven Mitja Velikonja ka nj\u00eb tez\u00eb interesante, e cila rishikon plot\u00ebsisht konceptin evropian t\u00eb jasht\u00ebzakonshm\u00ebris\u00eb negative n\u00eb Ballkan. Duke p\u00ebrdorur krahasimet historike, ai tregon se si Ballkani u b\u00eb pararoj\u00eb tragjike e Evrop\u00ebs n\u00eb shekullin 21. Ballkani ka kaluar n\u00ebp\u00ebr ngjarje dhe procese q\u00eb po ndodhin vet\u00ebm tani n\u00eb Evrop\u00eb, t\u00eb tilla si ngritja e mureve t\u00eb reja dhe vendosja e kufijve t\u00eb rinj, separatizmi, shovinizmi etnik, islamofobia, krizat e refugjat\u00ebve, p\u00ebrplasjet e civilizimeve dhe luft\u00ebrave kulturore, rrjedhja e trurit, kapitalizmi shkat\u00ebrrues financiar, etj. . Ai shton se edhe “fantazit\u00eb e shp\u00ebtimit” evropian sot jan\u00eb t\u00eb ngjashme me fantazit\u00eb e shp\u00ebtimit ballkanik t\u00eb tridhjet\u00eb viteve m\u00eb par\u00eb (Velikonja 2020). Filozofi slloven Slavoj \u0416i\u0436\u0435ek jep nj\u00eb shpjegim interesant p\u00ebr ekzistenc\u00ebn dhe funksionimin e dikotomis\u00eb Evrop\u00eb – Ballkan. N\u00eb nj\u00eb nga deklaratat e tij, ai me ironi v\u00ebren se Ballkani \u00ebsht\u00eb strukturuar si “pa ndjenja e Evrop\u00ebs” (“das Unbewusste Europas”), ku Evropa ruan tipare negative dhe primitive, k\u00ebshtu q\u00eb njer\u00ebzit n\u00eb Ballkan shpesh bllokohen n\u00eb \u00ebndrrat e tyre t\u00eb vjetra dhe nuk mund t\u00eb p\u00ebr t’u p\u00ebrballur me realitetin modern – n\u00eb fakt, ata jan\u00eb “kapur” n\u00eb \u00ebndrrat evropiane. Sipas \u0436\u0435i\u043aek, kjo b\u00ebhet qart\u00eb e dukshme n\u00eb kinematografin\u00eb ballkanike, ku mbizot\u00ebrojn\u00eb temat e esencializmit folklorik, n\u00eb vend se nj\u00eb ndjenj\u00eb e p\u00ebrkat\u00ebsis\u00eb s\u00eb ekscentricitetit ballkanik n\u00eb nj\u00eb kontekst global, universal (\u017di\u017eek 2008).<\/p>\n\n\n\n

Fokusi i hulumtimit t\u00eb teoricienes s\u00eb filmit me fam\u00eb bot\u00ebrore Dina Jordanova jan\u00eb pik\u00ebrisht nocionet e qendr\u00ebs dhe marzhi brenda artit filmik. Jordanova p\u00ebrshkruan se si lind dhe funksionon nj\u00eb dukuri e njohur dhe funksionuese n\u00eb p\u00ebrfaq\u00ebsimin kulturor dhe mediatik t\u00eb Ballkanit, t\u00eb cil\u00ebn ajo e quan “imitim i stereotipave” ose “ekzotiz\u00ebm i vet\u00eb-imponuar”. Arsyeja e intensifikimit t\u00eb shfryt\u00ebzimit t\u00eb k\u00ebtij fenomeni n\u00eb ekranin e filmit, ajo gjurmon n\u00eb konfliktet ushtarake gjat\u00eb shp\u00ebrb\u00ebrjes s\u00eb Jugosllavis\u00eb, kur Ballkani u b\u00eb p\u00ebrs\u00ebri pika qendrore e imagjinat\u00ebs n\u00ebnnd\u00ebrgjegjeshme Evropiane, dhe media dhe arti i filmit mor\u00ebn nj\u00eb rol kryesor, por t\u00eb paqart\u00eb n\u00eb zgjedhjen e gam\u00eb e p\u00ebrcaktuar e rr\u00ebfimeve vizuale p\u00ebr p\u00ebrfaq\u00ebsimin kulturor n\u00eb Ballkan. Si shembuj t\u00eb qart\u00eb nga arti i filmit ku ndodh kjo dukuri, ajo citon “Para shiut” (Mil\u00e7o Man\u00e7evski, 1994), “N\u00ebntok\u00ebsore” (Emir Kusturica, 1995), “Fshatra t\u00eb bukura, ata digjen bukur” (Srdjan Dragojevic, 1996) etj. . (Iordanova 2001)<\/p>\n\n\n\n

Me k\u00ebt\u00eb njohuri n\u00eb mendje, k\u00ebtu m\u00eb intereson se si t\u00eb shkoj p\u00ebrtej narrativ\u00ebs vizuale p\u00ebr t\u00eb adresuar disa shqet\u00ebsime n\u00eb lidhje me vet\u00eb-p\u00ebrfaq\u00ebsimin dhe p\u00ebrfaq\u00ebsimin nd\u00ebrkulturor, ve\u00e7an\u00ebrisht n\u00eb rastin e Kinematografise maqedonase. A ka ndonj\u00eb rast studimi m\u00eb t\u00eb mir\u00eb se filmi “Miss Stone” (1958)? Shum\u00eb mund t\u00eb befasohen nga zgjedhja ime, por mendoj se zgjedhja \u00ebsht\u00eb e justifikuar. Dramaturgu maqedonas dhe bot\u00ebror Goran Stefanovski n\u00eb nj\u00eb deklarat\u00eb t\u00eb vitit 1990, dh\u00ebn\u00eb gjat\u00eb nj\u00eb simpoziumi kushtuar k\u00ebtij filmi t\u00eb ve\u00e7ant\u00eb v\u00ebrejti: “” Miss Stone “\u00ebsht\u00eb nj\u00eb film i n\u00ebnvet\u00ebdijes time m\u00eb t\u00eb thell\u00eb. Sot rezulton se kjo nuk \u00ebsht\u00eb vet\u00ebm \u00e7\u00ebshtja ime individuale, por \u00ebsht\u00eb pjes\u00eb e nj\u00eb n\u00ebnnd\u00ebrgjegjesh\u00ebm kolektive q\u00eb kjo mbledhje po p\u00ebrpiqet t\u00eb rris\u00eb nd\u00ebrgjegj\u00ebsimin. “(Kinemateka e Maqedonis\u00eb 2018) Sipas filmologut Viktor Angelov,” “Miss Stone” \u00ebsht\u00eb “Lufta jon\u00eb” yjet. ” Nj\u00eb paradigm\u00eb e luft\u00ebs midis s\u00eb mir\u00ebs dhe s\u00eb keqes. “(Po aty) Filmmolog\u00ebt nga Kinemateka Komb\u00ebtare do t\u00eb v\u00ebrejn\u00eb se” Miss Stone “ishte nd\u00ebr” prodhimet m\u00eb t\u00eb shtrenjta dhe m\u00eb ambicioze Jugosllave, filmi i par\u00eb maqedonas me ngjyra dhe teknik\u00eb totalkopike – pasi ata m\u00eb pas filmuan epika historike t\u00eb kostumizuara. . “(Po aty.) Megjith\u00ebse dit\u00ebt e popullaritetit t\u00eb filmit kan\u00eb kaluar prej koh\u00ebsh dhe sot ajo shfaqet vet\u00ebm her\u00eb pas here n\u00eb televizion gjat\u00eb festave komb\u00ebtare ose ngjarjeve historike, un\u00eb nuk mund t’i injoroj t\u00eb dh\u00ebnat nga departamenti i shitjeve dhe shp\u00ebrndarjes s\u00eb filmave. n\u00eb “Vardar Film”, i cili ka numrin e 1,687,691 biletave t\u00eb shitura n\u00eb t\u00eb gjith\u00eb Jugosllavin\u00eb gjat\u00eb shfaqjeve t\u00eb kinemas\u00eb (Po aty) – d\u00ebshmi e popullaritetit dhe ndikimit t\u00eb r\u00ebnd\u00ebsish\u00ebm t\u00eb filmit n\u00eb audienc\u00eb.<\/p>\n\n\n\n

Filmi \u00ebsht\u00eb frym\u00ebzuar nga nj\u00eb ngjarje e ndodhur n\u00eb 1901, kur kompania e Jane Sandanski rr\u00ebmbeu misionaren amerikane dhe protestante Ellen Stone, me q\u00ebllim q\u00eb t\u00eb detyronte nj\u00eb shp\u00ebrblim dhe me ato para p\u00ebr t\u00eb financuar kryengritjen dhe luft\u00ebn p\u00ebr Maqedonin\u00eb e pavarur. Veprimi zhvillohet midis udh\u00ebheq\u00ebsit t\u00eb kompanis\u00eb Jane Sandanski (Ilija Milcin), koma Krsto Asenov (Dragan Ocokoljic), misionarit t\u00eb p\u00ebrkushtuar dhe t\u00eb guximsh\u00ebm Miss Ellen Stone (Olga Spiridonovic), shoq\u00ebruesja shtatz\u00ebn\u00eb dhe intelektualja e re Katerina Caterina dhe gjeniu Mandana (Petre Prlichko). Ansht\u00eb nj\u00eb fakt interesant q\u00eb gjat\u00eb xhirimeve t\u00eb skenave t\u00eb luft\u00ebs masive, Ushtria Popullore Jugosllave (JNA) u thirr p\u00ebr t\u00eb ndihmuar d\u00ebrgimin e nj\u00eb batalioni t\u00eb ushtris\u00eb si shtes\u00eb p\u00ebr ushtrin\u00eb turke.<\/p>\n\n\n\n

M\u00eb lejoni t\u00eb sh\u00ebnoj disa fakte historike. Rr\u00ebmbimi i Miss Stone \u00ebsht\u00eb n\u00eb fakt rr\u00ebmbimi i par\u00eb i nj\u00eb shtetasi amerikan p\u00ebr arsye politike: rajoni i Evrop\u00ebs. (…) Publiku i gjer\u00eb n\u00eb Evrop\u00eb dhe Shtetet e Bashkuara, t\u00eb cil\u00ebt kishin vet\u00ebm ide t\u00eb paqarta p\u00ebr Ballkanin, p\u00ebr her\u00eb t\u00eb par\u00eb p\u00ebrjetuan nj\u00eb mbulim t\u00eb gjer\u00eb dhe t\u00eb vazhduesh\u00ebm t\u00eb k\u00ebsaj zone p\u00ebr nj\u00eb periudh\u00eb t\u00eb gjat\u00eb kohore. Si pasoj\u00eb, imazhi i p\u00ebrcjell\u00eb nga shtypi kishte nj\u00eb karakter themelor. Tregoi, para s\u00eb gjithash, nj\u00eb rajon t\u00eb huaj, t\u00eb prapambetur dhe t\u00eb eg\u00ebr: peizazhi natyror i ilustrimeve ishte i dominuar nga gryka t\u00eb thella dhe rrjedha t\u00eb shpejta, dukej se nuk kishte rrug\u00eb ose ato paraqiteshin si nj\u00eb mo\u00e7al n\u00eb t\u00eb cilin rr\u00ebzohet nj\u00eb makin\u00eb e t\u00ebrhequr nga nj\u00eb buall, nd\u00ebrsa rr\u00ebmbyesit, me kostum ekzotik , u paraqit\u00ebn si figura t\u00eb err\u00ebta \u201d(Boskovska 2011, 123). Lajmi u p\u00ebrhap n\u00eb t\u00eb gjith\u00eb Evrop\u00ebn dhe Shtetet e Bashkuara dhe gazetar\u00ebt b\u00ebn\u00eb nj\u00eb sensacion mediatik. Interesante, fjalori q\u00eb u p\u00ebrdor fillimisht n\u00eb shtypin e p\u00ebrditsh\u00ebm amerikan ishte i mbushur me fjal\u00eb t\u00eb tilla si “bagabonti” dhe “eg\u00ebrsira”. Por pasi afera p\u00ebrfundoi dhe pengjet u l\u00ebshuan m\u00eb 23 shkurt 1902, Ellen Stone dha intervista p\u00ebr gazetar\u00ebt n\u00eb t\u00eb cilat ajo mb\u00ebshteste kauz\u00ebn e komiteve dhe nd\u00ebrtoi nj\u00eb imazh t\u00eb ndrysh\u00ebm t\u00eb tyre si njer\u00ebz t\u00eb emancipuar intelektualisht dhe me natyr\u00eb t\u00eb mir\u00eb dhe shtypi amerikan filloi t’i p\u00ebrshkruante ata. si “luft\u00ebtar\u00eb t\u00eb liris\u00eb s\u00eb provinc\u00ebs turke”. N\u00eb fakt, pasi u kthye n\u00eb Shtetet e Bashkuara, Ellen Stone komercializoi p\u00ebrvoj\u00ebn e saj, botoi nj\u00eb kujtim, dha leksione t\u00eb paguara dhe nj\u00eb intervist\u00eb e par\u00eb ekskluzive me nj\u00eb gazet\u00eb amerikane kushtoi 5000 dollar\u00eb (Po aty). A nuk mund ta lidhim k\u00ebt\u00eb informacion me Tez\u00ebn e Madh nga lart mbi Ballkanin si nj\u00eb avangard\u00eb (tragjike)?<\/p>\n\n\n\n

Por p\u00ebrs\u00ebri n\u00eb film. Potenciali trondit\u00ebs mediatik i ngjarjes historike me Miss Stone hodhi bazat p\u00ebr nj\u00eb imazh stereotip t\u00eb Ballkanit. Aspekti kryesor i tij – “v\u00ebshtrimi per\u00ebndimor” n\u00eb nocionin e qendr\u00ebs s\u00eb dikotomis\u00eb – periferia, p\u00ebrcillet me holl\u00ebsi dhe \u00ebsht\u00eb nj\u00eb faktor i r\u00ebnd\u00ebsish\u00ebm n\u00eb formimin e “pik\u00ebpamjes maqedonase” ose vet\u00eb-p\u00ebrfaq\u00ebsimit kolektiv p\u00ebrmes filmit “Miss Stone”. D\u00ebshmi p\u00ebr k\u00ebt\u00eb mund t\u00eb gjenden n\u00eb procesin e zhvillimit t\u00eb ides\u00eb dhe xhirimit t\u00eb filmit. Nga nj\u00ebra an\u00eb, gjat\u00eb p\u00ebrpunimit t\u00eb skenarit, ekipi maqedonas kishte nj\u00eb interes t\u00eb madh n\u00eb shfaqjen e temave nga e kaluara historike. N\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb, politika kulturore e Jugosllavis\u00eb s\u00eb pasluft\u00ebs mb\u00ebshteste dhe promovonte identitetin kulturor t\u00eb \u00e7do komb\u00ebsie brenda shtetit t\u00eb ri. Skenari u shkrua nga Gjorgji Abadziev, Trajche Popov dhe Ilija Milcin t\u00eb cil\u00ebt u p\u00ebrq\u00ebndruan n\u00eb ngjarjen historike. Nga ana tjet\u00ebr, regjisori \u0416ivorad \u043a\u0430ika Mitrovi, u p\u00ebrqendrua n\u00eb dikotomin\u00eb Lindje-Per\u00ebndim t\u00eb shprehur p\u00ebrmes personazheve t\u00eb Mandana dhe Miss Stone. N\u00eb nj\u00eb rast, regjisori deklaroi: “Edhe pse \u00ebsht\u00eb nj\u00eb rr\u00ebmbim, filmi” Miss Stone “\u00ebsht\u00eb nj\u00eb histori p\u00ebr dy njer\u00ebz q\u00eb kap\u00ebrcejn\u00eb ekzistenc\u00ebn e ekzistenc\u00ebs njer\u00ebzore n\u00eb m\u00ebnyra diametralisht t\u00eb kund\u00ebrta. “Issht\u00eb nj\u00eb histori rreth Miss Stone, nj\u00eb misionare amerikane dhe p\u00ebr Mandanta, nj\u00eb kryengrit\u00ebse maqedonase (…) q\u00eb marr\u00ebdh\u00ebnia \u00ebsht\u00eb nj\u00eb p\u00ebrplasje m\u00ebnyrash p\u00ebr t\u00eb perceptuar realitetin.” (Kinemateka e Maqedonis\u00eb 2018)<\/p>\n\n\n\n

Karakteri i Mandan\u00ebs p\u00ebrfaq\u00ebson gjenin maqedonas, folklorik anonim, nj\u00eb version ballkanik i Sancho Panza. Sot, replica midis Mandana dhe Cilka \u00ebsht\u00eb harruar padrejt\u00ebsisht nga audienca, e cila \u00ebsht\u00eb nj\u00eb shprehje e shkatht\u00ebsis\u00eb popullore t\u00eb nj\u00eb njeriu q\u00eb di t\u00eb mbijetoj\u00eb n\u00eb provinc\u00ebn Osmane: “Por ne ju pyesim di\u00e7ka tjet\u00ebr.” (Cilka) – “Dhe un\u00eb ju p\u00ebrgjigjem ndryshe”. (Mandana) N\u00ebse Miss Stone \u00ebsht\u00eb lib\u00ebr i zgjuar, Mandana \u00ebsht\u00eb e zgjuar n\u00eb rrug\u00eb. Ai arrin ta k\u00ebndoj\u00eb dhe ta mashtroj\u00eb, dhe k\u00ebshtu t\u00eb k\u00ebnaqet me misionarin amerikan. Mandana \u00ebsht\u00eb dikush q\u00eb di t\u00eb komunikoj\u00eb me gjuh\u00ebn e maleve dhe t\u00eb egra. N\u00eb t\u00eb v\u00ebrtet\u00eb simbolizon natyr\u00ebn dhe parimet e trupit dhe mbijetes\u00ebn, nd\u00ebrsa Mis Stone simbolizon arsyen dhe nj\u00eb mendje t\u00eb kultivuar q\u00eb drejtohet nga parime diametralisht t\u00eb kund\u00ebrta – predikimi dhe negocimi. Mandana p\u00ebrfundimisht vdes heroikisht n\u00eb nj\u00eb p\u00ebrpjekje p\u00ebr t\u00eb shp\u00ebtuar Mis Stone nga nj\u00eb ushtar Osman, duke simbolizuar sakrific\u00ebn e b\u00ebr\u00eb nga “kombet e vegj\u00ebl” gjat\u00eb gjith\u00eb historis\u00eb. Pik\u00ebrisht pas aktit t\u00eb sakrifikimit t\u00eb Mandan\u00ebs, Miss Stone pranon t\u00eb shkruaj\u00eb letr\u00ebn e shpengimit p\u00ebr bashkatdhetar\u00ebt e saj me t\u00eb cil\u00ebn do t\u00eb shpengoj\u00eb lirin\u00eb e saj. N\u00eb fund t\u00eb filmit ne tashm\u00eb zbulojm\u00eb qart\u00eb se Miss Stone \u00ebsht\u00eb nj\u00eb simbol i “bashk\u00ebsis\u00eb nd\u00ebrkomb\u00ebtare”: para se t\u00eb ndahet me komit\u00ebt, Krsto u drejtohet grave me fjal\u00ebt “Mendoni edhe ne, Katerino, e di q\u00eb keni pasur nj\u00eb koh\u00eb t\u00eb v\u00ebshtir\u00eb me ne, por “Ndonj\u00ebher\u00eb ju mendoni p\u00ebr ne”.<\/p>\n\n\n\n

N\u00eb nj\u00eb kuptim m\u00eb t\u00eb gjer\u00eb, “Miss Stone” dhe vet\u00eb krijimi i filmit mund t\u00eb lexohen si nj\u00eb k\u00ebrkim kolektiv p\u00ebr nj\u00eb z\u00eb, p\u00ebr t\u00eb treguar historin\u00eb e vetes dhe k\u00ebshtu t\u00eb fitojn\u00eb agjensi p\u00ebr t\u00eb z\u00ebvend\u00ebsuar pozicionin margjinal me nj\u00eb pozicion universal. Un\u00eb mendoj se filmat nga faza e par\u00eb e kinematografis\u00eb s\u00eb institucionalizuar maqedonase e arrijn\u00eb at\u00eb, megjith\u00ebse n\u00eb plan t\u00eb par\u00eb q\u00ebllimi ishte zakonisht krijimi i nj\u00eb publiku filmi dhe nj\u00eb “pamje maqedonase” (vet\u00eb-performanca) q\u00eb p\u00ebrballet me t\u00eb kaluar\u00ebn kolektive.<\/p>\n\n\n\n

Referencat:<\/p>\n\n\n\n

Iordanova, Dina. 2001. “Kinemaja e flak\u00ebve: Filmi Ballkanik, Kultura dhe Media”. Lond\u00ebr: Instituti Britanik i Filmit<\/p>\n\n\n\n

Velikonja, Mitja. 2020. “Ballkani: Avant-Garda Tragjike e Evrop\u00ebs”. Leksion Online p\u00ebr qendr\u00ebn Yale Macmillan, Katedra p\u00ebr Studime Evropiane. E aksesuar n\u00eb 01.10.2020 https:\/\/europeanstudies.macmillan.yale.edu\/balkans-tragic-avant-garde-europe<\/p>\n\n\n\n

\u017di\u017eek, Slavoj. 2008. “Euronews flet filma dhe Ballkan me Slavoj \u017ei\u017eek”. N\u00eb dispozicion n\u00eb internet: http:\/\/www.euronews.net\/2008\/09\/12\/euronews-talks-films-and-balkans-with-slavoj-zizek\/ P\u00ebrdoret m\u00eb 01.10.2020<\/p>\n\n\n\n

Boskovska, Nada. 2011. “Rr\u00ebmbimi i Miss Stone si nj\u00eb ngjarje mediatike”. Gazeta 55, nr. 1-2. Shkup: Instituti i Historis\u00eb Komb\u00ebtare, 119\u2013130. N\u00eb dispozicion n\u00eb internet: http:\/\/www.ini.ukim.mk\/naslovna\/Glasnik_55_Celosen.pdf V\u00ebshtruar m\u00eb 01.10.2020<\/p>\n\n\n\n

Kinemateka e Maqedonis\u00eb. 2018. “Miss Stone 60: Midis Ellen dhe Autonomy”. Autor\u00eb t\u00eb tjer\u00eb: Viktor Angelov, Aleksandra Mladenovi .. Shkup: Kinemateka e Republik\u00ebs s\u00eb Maqedonis\u00eb<\/p>\n\n\n\n

Ivana Hadzievska<\/strong> lindi n\u00eb Manastir n\u00eb 1995. Ajo \u00ebsht\u00eb nj\u00eb historiane dhe punon si nj\u00eb studiuese e pavarur n\u00eb shkencat humane dhe arsim. Fushat e saj me interes shkencor jan\u00eb historia shoq\u00ebrore e Ballkanit, historia e grave dhe politika e kujtes\u00ebs. Ajo \u00ebsht\u00eb aktive n\u00eb disa projekte q\u00eb lidhin arsimin joformal dhe aktivizmin lokal. Lidhje me botimet e m\u00ebparshme: https:\/\/ukim-mk.academia.edu\/IvanaHadjievska<\/u><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Hyrje Sipas nj\u00eb teze t\u00eb vjet\u00ebr t\u00eb poetit gjerman Rilke, “Bukuroshja \u00ebsht\u00eb velloja e fundit q\u00eb mbulon Tmerrin”. Ndoshta mund ta zbatojm\u00eb k\u00ebt\u00eb tez\u00eb n\u00eb zhvillimin e kinematografis\u00eb maqedonase, duke imagjinuar se temat k\u00ebrcejn\u00eb n\u00eb nj\u00eb tel, mbi t\u00eb cilin, n\u00eb nj\u00ebrin skaj, q\u00ebndron patosi i glorifikimit t\u00eb s\u00eb kaluar\u00ebs si Bukuri e veshur me barok, dhe n\u00eb skajin tjet\u00ebr […]<\/p>\n","protected":false},"author":8,"featured_media":6162,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_editorskit_title_hidden":false,"_editorskit_reading_time":8,"_editorskit_is_block_options_detached":false,"_editorskit_block_options_position":"{}","footnotes":""},"categories":[58],"tags":[],"class_list":["post-6167","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-al"],"acf":[],"yoast_head":"\n"Mendoni p\u00ebr ne, zonj\u00eb": "Miss Stone" dhe vet\u00eb-performanca kolektiv - DWP-BALKAN<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\""Mendoni p\u00ebr ne, zonj\u00eb": "Miss Stone" dhe vet\u00eb-performanca kolektiv - DWP-BALKAN\" \/>\n<meta property=\"og:description\" content=\"Hyrje Sipas nj\u00eb teze t\u00eb vjet\u00ebr t\u00eb poetit gjerman Rilke, “Bukuroshja \u00ebsht\u00eb velloja e fundit q\u00eb mbulon Tmerrin”. 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