\u201cDhe ata jetuan t\u00eb lumtur p\u00ebrgjithmon\u00eb\u2026\u201d sh\u00ebnjon fjalin\u00eb e fundit n\u00eb pothuajse secil\u00ebn p\u00ebrrall\u00eb a film t\u00eb animuar p\u00ebr f\u00ebmij\u00eb, por gjersa flitet p\u00ebr fundin e rr\u00ebfimit, n\u00eb t\u00eb nj\u00ebjt\u00eb koh\u00eb i hapet rruga fillimit t\u00eb nj\u00eb historie q\u00eb s\u2019z\u00eb shum\u00eb vend p\u00ebr p\u00ebrshkrim, sidomos kur t\u00eb pranishme ka kombinimin e fjal\u00ebve \u201clumturi\u201d e \u201cp\u00ebrgjithmon\u00eb\u201d. K\u00ebshtu, filmat e animuar dhe p\u00ebrrallat p\u00ebrpos rr\u00ebmbimit t\u00eb v\u00ebmendjes s\u00eb f\u00ebmij\u00ebve, bashk\u00ebudh\u00ebtimit n\u00eb fantazi apo edhe v\u00ebnies me leht\u00ebsi n\u00eb gjum\u00eb, ushtrojn\u00eb ndikim t\u00eb madh n\u00eb krijimin e bot\u00ebkuptimeve t\u00eb cilat shpesh fitojn\u00eb jet\u00ebgjat\u00ebsi p\u00ebrtej viteve t\u00eb f\u00ebmij\u00ebris\u00eb.<\/p>\n
P\u00ebr koh\u00eb t\u00eb gjat\u00eb kompania Walt Disney ka prodhuar nj\u00eb num\u00ebr t\u00eb madh t\u00eb madh filmash t\u00eb animuar t\u00eb cil\u00ebt pos suksesit gjigand, i jan\u00eb n\u00ebnshtruar edhe kritikave t\u00eb shumta, ve\u00e7an\u00ebrisht ndaj atmosfer\u00ebs patriarkale dhe stereotipizimit t\u00eb roleve gjinore q\u00eb ato p\u00ebrmbajn\u00eb. Ndon\u00ebse personazhet kryesore n\u00eb k\u00ebto prodhime dhe n\u00eb tituj t\u00eb tyre jan\u00eb vajza, kjo jo gjithmon\u00eb shoq\u00ebrohet me v\u00ebnien n\u00eb pah t\u00eb agjencis\u00eb s\u00eb tyre dhe mos-shtypjes. Hirushja, Bor\u00ebbardha dhe Bukuroshja e Fjetur jan\u00eb tre prodhimet e gjenerat\u00ebs s\u00eb par\u00eb t\u00eb zhanrit t\u00eb princeshave Disney (t\u00eb prodhuara n\u00eb vitet 1937-1959) dhe tri personazhet q\u00eb njihen me nofk\u00ebn si \u201cprinceshat pasive\u201d, pik\u00ebrisht p\u00ebr shkak t\u00eb munges\u00ebs s\u00eb ushtrimit t\u00eb agjencis\u00eb dhe delegimit t\u00eb saj tek princ\u00ebrit, q\u00eb me p\u00ebrshkrimin si t\u00eb matur e t\u00eb guximsh\u00ebm, sigurojn\u00eb lumturin\u00eb e princeshave. Sakaq t\u00eb r\u00ebnd\u00ebsishme ato b\u00ebhen vet\u00ebm brenda p\u00ebrbrenda territorit sht\u00ebpiak, kryerjes s\u00eb pastrimeve apo gatimit, si role tipikisht tradicionale t\u00eb gruas q\u00eb injektohen qysh me filles\u00eb tek k\u00ebto vajza t\u00eb mitura dhe t\u00eb cilat modelohen n\u00eb transmetimet filmike tek f\u00ebmij\u00ebt q\u00eb i ndjekin (kryesisht vajza). K\u00ebsisoj, personazhet n\u00eb fjal\u00eb na shfaqen t\u00eb nd\u00ebrtuara nga cil\u00ebsit\u00eb feminine si: but\u00ebsia, t\u00eb qenurit t\u00eb qeta, fjal\u00ebpak dhe t\u00eb kujdesshme kurse personazhet-djem p\u00ebrpos se t\u00eb pasur ekonomikisht dhe me nj\u00eb vet\u00ebdije m\u00eb t\u00eb lart\u00eb mbi vetp\u00ebrkujdesjen, posedojn\u00eb lirin\u00eb nga kat\u00ebr-muret, gj\u00eb q\u00eb mund t\u00eb shpjegoj\u00eb faktin se pse ata b\u00ebhen leht\u00ebsisht heronjt\u00eb e historis\u00eb.<\/p>\n
Romantizimi i till\u00eb i lumturis\u00eb \u2013 e cila nuk mund t\u00eb shihet pa nj\u00eb princ-shp\u00ebtimtar, pa martes\u00eb dhe sakrifikim t\u00eb \u00ebndrrave \u2013 po aq sa natyralizimi i dominimit dhe kontrollit t\u00eb burrave ndaj grave mund\u00ebsojn\u00eb riprodhim t\u00eb vlerave patriarkale, e q\u00eb duke qen\u00eb shum\u00eb m\u00eb t\u00eb qasshme tek gjeneratat e reja rrezikon t\u00eb ndikoj\u00eb n\u00eb edukimin e tyre n\u00eb k\u00ebt\u00eb frym\u00eb. Sociologu William Corsaro i referohet termit \u201ckultur\u00eb simbolike t\u00eb f\u00ebmij\u00ebris\u00eb\u201d p\u00ebr t\u00eb shpjeguar p\u00ebrfaq\u00ebsimet e ndryshme simbolike dhe vlerore t\u00eb f\u00ebmij\u00ebve q\u00eb marrin form\u00eb nga tre burime kryesore si: p\u00ebrmbajtjet mediale p\u00ebr f\u00ebmij\u00eb (p\u00ebr shembull filmi), let\u00ebrsia p\u00ebr f\u00ebmij\u00eb (p\u00ebr shembull p\u00ebrrallat, fabulat etj.) dhe figurat mitike (p\u00ebr shembull Babadimri). Shto k\u00ebtu faktin se si Disney p\u00ebrfshihet n\u00eb jet\u00ebn e f\u00ebmij\u00ebve si n\u00eb dizajnimin e produkteve t\u00eb ndryshme p\u00ebr f\u00ebmij\u00eb: rroba, materiale shkollore, lodra e deri tek tortat e dit\u00eblindjes q\u00eb dekorohen me motive Disney. Megjithat\u00eb efekti Disney nuk mbaron k\u00ebtu. Modelimi i sjelljes s\u00eb caktuar dhe p\u00ebrcjellja e tyre tek shikuesit mund t\u00eb mbes\u00eb relikt kulturor, shpeshher\u00eb i pavet\u00ebdijsh\u00ebm, edhe n\u00eb rutin\u00ebn e nj\u00eb t\u00eb rrituri, p\u00ebrpos nostalgjis\u00eb p\u00ebr t\u00eb ripar\u00eb sekuenca t\u00eb bot\u00ebs magjike Disney.<\/p>\n
\u00cbsht\u00eb interesante t\u00eb reflektohet gjithashtu mbi raportet q\u00eb krijohen mes seksit t\u00eb nj\u00ebjt\u00eb n\u00eb historit\u00eb e kthyera n\u00eb prodhime filmike t\u00eb Disney. Ta z\u00ebm\u00eb, dallimi mes Hirushes me vajzat e njerk\u00ebs s\u00eb saj q\u00ebndron n\u00eb t\u00eb zot\u00ebruarit e bukuris\u00eb fizike, gjentiles\u00ebs e fragjilitetit po aq sa edhe t\u00eb shkatht\u00ebsive mbi pastrimin dhe gatimin, cil\u00ebsi k\u00ebto q\u00eb vajzat binjake t\u00eb portretizuara si personazhe negative nuk i kan\u00eb. Rrjedhimisht me k\u00ebt\u00eb nxiten presione standardizuese t\u00eb \u201cvajzave ideale\u201d, t\u00eb cilat duke poseduar k\u00ebso cil\u00ebsish arrijn\u00eb t\u00eb martohen apo t\u00eb fitojn\u00eb dashurin\u00eb e princit q\u00eb shnd\u00ebrrohet n\u00eb heroin e tyre jet\u00ebsor. Ngjash\u00ebm ndodh edhe tek sirena Ariel, e cila n\u00eb em\u00ebr t\u00eb dashuris\u00eb mohon nj\u00eb pjes\u00eb t\u00eb trupit t\u00eb saj si siren\u00eb dhe humbet z\u00ebrin p\u00ebr t\u2019iu p\u00ebrshtatur bot\u00ebs s\u00eb princit \u2013 madje p\u00ebr k\u00ebt\u00eb ajo k\u00ebshillohet nga magjistarja Ursula q\u00eb t\u00eb p\u00ebrdor\u00eb bukurin\u00eb e fytyr\u00ebs dhe t\u00eb trupit t\u00eb saj tashm\u00eb t\u00eb transformuar p\u00ebr ta b\u00ebr\u00eb p\u00ebr vete princin, meq\u00eb z\u00ebri i saj ishte shuar. Po ashtu edhe tendenca q\u00eb grat\u00eb e pushtetshme t\u00eb gjykohen si shpirtliga shfaqet tek Hirushja dhe Bor\u00ebbardha, n\u00eb raportin e tyre me njerk\u00ebn \u2013 p\u00ebrpos faktit se si roli i njerk\u00ebs \u00ebsht\u00eb i ngjyrosur historikisht si i pandjesh\u00ebm ndaj f\u00ebmij\u00ebve jetim\u00eb, posa\u00e7\u00ebrisht vajza.<\/p>\n
Megjithat\u00eb, n\u00eb gjith\u00eb k\u00ebto vite t\u00eb prodhimit filmik vihet re nj\u00eb evoluim i filmave Disney dhe kjo tregohet n\u00eb kap\u00ebrcimin e disa ideve nga nj\u00eb gjenerat\u00eb filmash n\u00eb tjetr\u00ebn. Gjenerata e par\u00eb me Bor\u00ebbardh\u00ebn (1937), Hirushen (1950) dhe Bukuroshen e Fjetur (1959) e cila v\u00eb bazat e ekskluzivitetit t\u00eb p\u00ebrmbushjes jet\u00ebsore me martes\u00eb dhe lumturin\u00eb e p\u00ebrjetshme, evoluon n\u00eb gjenerat\u00ebn e dyt\u00eb me personazhet si Ariel (1989), Bella tek e Bukura dhe Bisha (1991), Jasemina tek Aladini (1992), Pokahontas (1995) dhe Mulani (1998), t\u00eb cilat p\u00ebrfaq\u00ebsojn\u00eb prototipin e princeshave me m\u00eb shum\u00eb personalitet \u2013 n\u00eb kuptimin e theksimit m\u00eb t\u00eb madh t\u00eb subjektivitetit t\u00eb tyre dhe k\u00ebmb\u00ebnguljes p\u00ebr t\u2019u udh\u00ebhequr nga ajo. Nd\u00ebrkaq me gjenerat\u00ebn e tret\u00eb, me prodhimet si: Princesha dhe Bretkosa (2009), Rapunzel (2010) dhe Elsa e Ana tek Frozen (2013) jo domosdoshm\u00ebrisht mbijetojn\u00eb p\u00ebrpjekjet absolute p\u00ebr ruajtje titulli t\u00eb princesh\u00ebs apo martes\u00eb me patjet\u00ebr. Kjo m\u00eb s\u00eb miri i mvishet personazhit Merida (Brave), nj\u00eb film Disney i prodhuar n\u00eb vitin 2012, q\u00eb sjell historin\u00eb e Meridas, nj\u00eb princesh\u00eb skoceze me hark, e cila refuzon fuqish\u00ebm t\u2019i lejoj\u00eb prind\u00ebrit e saj ta fejojn\u00eb me nj\u00eb nga djemt\u00eb e mbret\u00ebris\u00eb fqinje. N\u00eb kontrast t\u00eb mpreht\u00eb me princeshat e para viteve 2000, Merida \u00ebsht\u00eb jokonvencionale dhe ajo preferon ngjitjen dhe eksplorimin sesa t\u00eb k\u00ebnduarit p\u00ebr gjetjen e nj\u00eb burri. Mbi t\u00eb gjitha, Merida fundin e lumtur e arrin pa e bashk\u00eblidhur me romanc\u00ebn e nj\u00eb princi.<\/p>\n
P\u00ebr fund, dekonstruktimi i identiteteve dhe mesazheve q\u00eb p\u00ebr\u00e7ojn\u00eb personazhet e Disney p\u00ebrb\u00ebn nj\u00eb r\u00ebnd\u00ebsi t\u00eb ve\u00e7ant\u00eb p\u00ebr t\u00eb par\u00eb se si mbillen vlera t\u00eb caktuara, t\u00eb cilat pos q\u00eb flasin p\u00ebr kontektstet shoq\u00ebrore t\u00eb koh\u00ebs kur jan\u00eb realizuar, d\u00ebshmojn\u00eb p\u00ebr nevoj\u00ebn p\u00ebr t\u00eb reflektuar mbi narrativat gjinore q\u00eb nd\u00ebrtohen n\u00eb shoq\u00ebri e q\u00eb mbres\u00ebl\u00ebnsh\u00ebm ruajn\u00eb cop\u00ebza n\u00eb kujtimet f\u00ebminore t\u00eb shum\u00eb prej nesh.<\/p>\n
Trina Hoti \u00ebsht\u00eb studente e vitit t\u00eb dyt\u00eb n\u00eb Departamentin e Sociologjis\u00eb, Fakulteti Filozofik. Q\u00eb n\u00eb mosh\u00ebn 13 vje\u00e7are ajo \u00ebsht\u00eb angazhuar n\u00eb avokimin p\u00ebr t\u00eb drejtat e f\u00ebmij\u00ebve duke qen\u00eb kryesuese e Asambles\u00eb Komunale t\u00eb F\u00ebmij\u00ebve - Prishtin\u00eb dhe m\u00eb pas e grupit monitorues t\u00eb t\u00eb drejtave t\u00eb f\u00ebmij\u00ebve Respect Our Rights, nd\u00ebrsa aktualisht \u00ebsht\u00eb fasilitatore e Grupit Referues t\u00eb t\u00eb Rinjve n\u00eb programin e UNICEF-it n\u00eb Kosov\u00eb. N\u00eb cil\u00ebsin\u00eb e delegates s\u00eb t\u00eb rinjve kosovar\u00eb, Trina ka p\u00ebrfaq\u00ebsuar Kosov\u00ebn n\u00eb dy ngjarje nd\u00ebrkomb\u00ebtare, si\u00e7 \u00ebsht\u00eb ajo e Jav\u00ebs Evropiane p\u00ebr Veprim p\u00ebr Vajza (viti 2018) dhe n\u00eb samitin e Ballkanit Per\u00ebndimor \u201cIt takes two to tango: the Western Balkans between hope and reality\u201d (viti 2019). Po ashtu, ajo ka takuar vendimmarr\u00ebs t\u00eb lart\u00eb kosovar\u00eb dhe jo vet\u00ebm, dhe ka udh\u00ebhequr disa her\u00eb seanca parlamentare n\u00eb Kuvendin e Kosov\u00ebs me rastin e dit\u00ebve nd\u00ebrkomb\u00ebtare t\u00eb f\u00ebmij\u00ebve.<\/p>\n
<\/p>\n
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M\u00ebsoni rreth projekteve dhe nismave tona t\u00eb fundit q\u00eb synojn\u00eb t\u00eb b\u00ebjn\u00eb nj\u00eb pozitiv<\/p>","protected":false},"author":1,"featured_media":7787,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"give_campaign_id":0,"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[84],"tags":[],"class_list":["post-7788","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog"],"_links":{"self":[{"href":"https:\/\/ror-rks.net\/sq\/wp-json\/wp\/v2\/posts\/7788","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ror-rks.net\/sq\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ror-rks.net\/sq\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ror-rks.net\/sq\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ror-rks.net\/sq\/wp-json\/wp\/v2\/comments?post=7788"}],"version-history":[{"count":3,"href":"https:\/\/ror-rks.net\/sq\/wp-json\/wp\/v2\/posts\/7788\/revisions"}],"predecessor-version":[{"id":7791,"href":"https:\/\/ror-rks.net\/sq\/wp-json\/wp\/v2\/posts\/7788\/revisions\/7791"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ror-rks.net\/sq\/wp-json\/wp\/v2\/media\/7787"}],"wp:attachment":[{"href":"https:\/\/ror-rks.net\/sq\/wp-json\/wp\/v2\/media?parent=7788"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ror-rks.net\/sq\/wp-json\/wp\/v2\/categories?post=7788"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ror-rks.net\/sq\/wp-json\/wp\/v2\/tags?post=7788"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}