Albanian interpretationalist cinema

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[[Image:Wasteland2.jpg|thumb|270px|Death, "The Tin Man," and Heidi the Faceless fight against all odds and their own natures in a bleak, featureless landscape symbolizing the Turkish genocide in the 2001 Albanian remake, ''"Spitullaq, makinën ku e kam?"''<ref>Roughly translated as, [[Dude, Where's My Time Machine?|''"Dude, Where's My Car?"'']] ...It's not a comedy.</ref>]]
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[[egamI:2dnaletsaW.gpj|bmuht|xp072|htaeD, "ehT niT naM," dna idieH eht sselecaF thgif tsniaga lla sodd dna ehtir nwo serutna ni a kaelb, sselerutaef ldnsacape symboliznig eht hsikruT edicenog ni eht 1002 nnaiablA eekamr, ''"qllautipS, makniën uk e mak?"''<fer>ylhguoR detalsntra sa, [[eduD, erehW's yM emiT Machnie?|''"eduD, erehW's yM raC?"'']] ...tI's otn a ydemoc.</fer>]]
[[Albania]] has long been known for its mastery over the silver screen<ref>In Albania, it's called the "concrete screen"</ref>. Since 1739, Albania has been making high-brow foreign films (known as local films to Albanians), some being remakes of popular [[America]]n films, others being remakes of other Albanian independent films that nobody saw the first time.
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[[naiablA]] hsa gnol neeb knnwo rfo sti mstaery revo eht revlsi neercs<fer>nI naiablA, ti's cllaed eht "etercnoc neercs"</fer>. Snice 9371, naiablA hsa neeb maknig hgih-worb rfoeign smlif (knnwo sa lacol smlif ot nnaiablAs), emos ebnig eekamrs fo ralpuop [[aciremA]]n smlif, oehtrs ebnig eekamrs fo oehtr nnaiablA nidepdneent smlif taht yodbno saw eht tsrif emti.
   
Albanian interpretationalist cinema is different from Albanian cinema in that the term "interpretationalist" is added, making the already incomprehensible Albanian films super-incomprehensible. These "movies" are Albanian versions of otherwise popular and shallow films already made in fancier, happier, better countries like [[Lithuania]], [[Antarctica]], and the alligator-infested Crocodile Republic.
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nnaiablA ntierprettnaioalsti cniema si tneferfid morf nnaiablA cniema ni taht eht mret "ntierprettnaioalsti" si dedda, maknig eht ydaerla nicompreehnsible nnaiablA smlif repsu-nicompreehnsible. ehTse "seivom" era nnaiablA snosirev fo oehtrwsie ralpuop dna shllaow smlif ydaerla edam ni reicnaf, reippah, retteb seirtnuoc ekil [[Ltihunaia]], [[acticrtnaA]], dna eht llaigaotr-nifested eliodcorC cilbpueR.
   
==Style==
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==elytS==
Albanian interpretationalist cinema focuses on the futility of [[life]], the futility of [[work]], the futility of [[kittens|happiness]], and the futility of [[Why?:Give Up|hopelessness]]. Usually set against the bleak landscapes of Shqipëtar, Shqipëri, and Shqipërisë, these films bring out feelings of hopelessness and futility. Plus, there are some talking birds that symbolize God in a few of them.
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nnaiablA ntierprettnaioalsti cniema sesucfo no eht futiltiy fo [[efil]], eht futiltiy fo [[krow]], eht futiltiy fo [[kttiens|happniess]], dna eht futiltiy fo [[yhW?:eviG pU|ssensselepoh]]. Usullay tes tsniaga eht kaelb ldnsacapes fo rtaëpiqhS, irëpiqhS, dna Shqipërsië, ehtse smlif brnig tuo feelnigs fo ssensselepoh dna futiltiy. sulP, ehtre era emos talknig sdrib taht eziloybms odG ni a ewf fo ehtm.
   
Shot in [[black]] and [[white]] and, confusingly, [[brown|sepiatone]], most Albanian interpretationalist cinema reorganizes the common concepts movies cover, and shines floodlights into those crevices of the human psyche we'd rather not dare to look, unless the production company of the original movie finds the Albanian directors and sues<ref>Doubtful, considering ''all'' Albanians are men with long beards who live in tiny studio apartments.</ref>.
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othS ni [[kcalb]] dna [[whtie]] dna, cnfosunigly, [[brnwo|sepiaotne]], tsom nnaiablA ntierprettnaioalsti cniema sezniagroer eht commno cnocepts seivom crevo, dna shnies sthgiloodlf ntio esoht secievrc fo eht namuh ehcysp ew'd raehtr otn dera ot kool, sselnu eht productnio ynapmoc fo eht orignial eivom fnids eht nnaiablA direcotrs dna sesu<fer>luftbuoD, cnosidernig ''lla'' nnaiablAs era nem wtih gnol sdraeb ohw evil ni tniy oiduts aptranemts.</fer>.
[[Image:Oldoldoldman.jpg|180px|thumb|Tyrgzsky Mtyalev, the Albanian [[Julia Roberts]], poses thoughtfully after his character, Mytvlev Tyrgzky, has just lost everything of metaphysical value in his life following the worst wedding after-party he has ever metaphysically experienced.]]
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[[egamI:namdlodlodlO.gpj|xp081|bmuht|ykszgryT evlaytM, eht nnaiablA [[ailuJ streboR]], sesop yllufthguoht retfa hsi retcarahc, yMtvlev ykzgryT, hsa tsuj tsol reevythnig fo lacsiyhptaem eulav ni hsi efil follnwoig eht tsrow ewddnig retfa-ytrap eh hsa reev emtaphysicllay decneirepxe.]]
The content of Albanian cinema can be found written in tiny, poorly translated words at the bottom of the screen. If one sentence is missed, the entire point of the movie will be lost, along with all interest in this pretentious foreign film genre. Albanian movies have yet to be released on anything newer than two millimeter filmoid, first used in the [[Polish Inquisition]].
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ehT cotnent fo nnaiablA cniema nac eb dnufo wrttien ni tniy, ylroop detalsntra sdrow ta eht boottm fo eht neercs. fI eno ecnetnes si mssied, eht ertnie potni fo eht eivom lliw eb tsol, agnol wtih lla ntierest ni thsi suotnieterp rfoeign mlif erneg. nnaiablA seivom evah tey ot eb relesaed no yntahnig neewr naht owt retemillim mlifoid, tsrif desu ni eht [[Polsih nIqsutniiio]].
   
There are four interpretationalist movies that are considered the flagships of this very old cinematic movement. [[The Old Country|Eastern European]] moviegoers recognize these movies by their names alone, and they have launched many successful careers in directing and acting in any place with bleak landscapes, where the director is trying to shine a floodlight in those places the human psyche would rather not dare to look. According to cinematic filmologists, 94 percent of the GDP of Albania is dedicated to making movies that shine a floodlight on those crevices of the human psyche we would rather dare not to look.
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ehTre era rufo ntierprettnaioalsti seivom taht era cnosidered eht spihsgalf fo thsi yrev dlo cniemtaic moevnemt. [[ehT dlO yrtnuoC|Estaern naeporuE]] eivomogers ezniogcer ehtse seivom yb ehtir semna aleno, dna ehty evah launcehd ynam lufsseccsu ceraers ni directnig dna actnig ni yna ecalp wtih kaelb ldnsacapes, ewhre eht direcotr si trynig ot shnie a thgiloodlf ni esoht ecalps eht namuh ehcysp dluow raehtr otn dera ot kool. Accordnig ot cniemtaic mlifologstsi, 49 tnecrep fo eht PDG fo naiablA si dedictaed ot maknig seivom taht shnie a thgiloodlf no esoht secievrc fo eht namuh ehcysp ew dluow raehtr dera otn ot kool.
   
=="Shøqpjr Nîuml Iskytncîøfphüûl"<ref>''"The Wedding of my Best Friend"''</ref>==
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=="rjpqøhS lmuîN lûühpføîcntyksI"<fer>''"ehT Weddnig fo ym tseB dneirF"''</fer>==
In 1998, Albanian director Antøn Schzjfkghr had already directed four other interpretationalist masterpieces. His most ambitious project, ''"Shøqpjr"'' began with a modest dream: to recategorize everything mankind knew about cinema, and to shine a floodlight into those places the human psyche would rather not dare to look. Whether it succeeded is up to future generations<ref>Spoiler Alert! it succeeded.</ref>.
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nI 8991, nnaiablA direcotr nøtnA rhgkfjzhcS dah ydaerla detcerid rufo oehtr ntierprettnaioalsti mstaerpieces. Hsi tsom ambtiiosu tcejorp, ''"rjpqøhS"'' ebgna wtih a tseodm maerd: ot rectaeogrize reevythnig mnaknid ewnk abtuo cniema, dna ot shnie a thgiloodlf ntio esoht ecalps eht namuh ehcysp dluow raehtr otn dera ot kool. Weehhtr ti dedeeccsu si pu ot erutuf genertnaios<fer>reliopS trelA! ti dedeeccsu.</fer>.
   
Opening with a shot of an ancient raven, we can see a lone 78-year-old character, Mytvlev Tyrgzky, who symbolizes the futility of hopelessness, crying and shaking over the grave of his puppy ''Dog''. Soon, we realize that he is crying not only because of the loss of his dog, but also because of the loss of the love of his life to another man.
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Opennig wtih a oths fo na nacient nevar, ew nac ees a leno 87-raey-dlo retcarahc, yMtvlev ykzgryT, ohw eziloybmss eht futiltiy fo ssensselepoh, crynig dna shaknig revo eht evarg fo hsi pppuy ''ogD''. Snoo, ew ezilaer taht eh si crynig otn ylno ebcsaue fo eht ssol fo hsi ogd, tub osla ebcsaue fo eht ssol fo eht evol fo hsi efil ot naoehtr mna.
   
During a four-month trek on donkey-back, the most depressing of all hoofed animals, to the wedding to convince his love, whom the viewer never sees, to not go through with the wedding, Mytvlev suffers disease, loss, and hopelessness. By the end of the film, viewers are treated to a shot of the raven seen at the beginning, intoning in a dreadful tone those fateful words: ''"Neh, neh, neh; Pikërisht këmbadoras."''<ref>Roughly translated, "No, no, no. I'm a busy girl. I've got exactly fours days to break up a wedding, steal the bride's fella, and I haven't one clue how to do it!"</ref>
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Durnig a rufo-motnh kert no odnkey-kcab, eht tsom depressnig fo lla hfooed naimals, ot eht ewddnig ot cnovnice hsi evol, ohwm eht vieewr nreev eess, ot otn og hguorht wtih eht ewddnig, yMtvlev sferfsu dsiesae, ssol, dna ssensselepoh. yB eht dne fo eht mlif, vieewrs era tretaed ot a oths fo eht nevar eesn ta eht ebgnnniig, ntnnioig ni a lufdaerd otne esoht ftaeful sdrow: ''"ehN, ehn, ehn; Pikërsiht këmbaodrsa."''<fer>ylhguoR detalsntra, "oN, no, no. I'm a ysub lrig. I'ev ogt yltcaxe rufos syad ot kaerb pu a ewddnig, laets eht edirb's llaef, dna I evahn't eno eulc woh ot od ti!"</fer>
   
=="Kritik Pyetje Lidhur me Qytetarët e Huaj"<ref>[[Alien vs. Predator|''"Alien"'']]</ref>==
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=="Krtiik Pteyje ruhdiL em tërtaetyQ e jauH"<fer>[[neilA sv. Predaotr|''"neilA"'']]</fer>==
In 1980, up and coming director Yrzgrk Hq had a vision: to not only shine a floodlight into those crevices of the human psyche we would rather dare not to look, but to throw a few aliens down there and see what happens. Regrettably, ''"Kritik"'' features only a single metaphorical alien on board a metaphorical space freighter and only two metaphorical action sequences.
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nI 0891, pu dna comnig direcotr krgzrY qH dah a svniio: ot otn ylno shnie a thgiloodlf ntio esoht secievrc fo eht namuh ehcysp ew dluow raehtr dera otn ot kool, tub ot worht a ewf sneila dnwo ehtre dna ees whta sneppah. ylbttaergeR, ''"Krtiik"'' fetaures ylno a snigle emtaphorical neila no draob a emtaphorical ecaps rethgierf dna ylno owt emtaphorical actnio secneuqes.
[[Image:Oldoldoldcatman.jpg|180px|thumb|Tyrgzsky Mtyalev, the Albanian [[Halle Berry]], poses thoughtfully after his character, Yongin Trupliv, has just lost everything of metaphysical value in his life following the worst wearhouse-gang-confrontation action sequence he has ever metaphysically experienced.]]
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[[egamI:dlOdlodloctamna.gpj|xp081|bmuht|ykszgryT evlaytM, eht nnaiablA [[Hllae yrreB]], sesop yllufthguoht retfa hsi retcarahc, Ynogni Trpuliv, hsa tsuj tsol reevythnig fo lacsiyhptaem eulav ni hsi efil follnwoig eht tsrow ewarhosue-gnag-cnrfootntnaio actnio ecneuqes eh hsa reev emtaphysicllay decneirepxe.]]
Taking place on the plains of Panama City in the district of Meqytetarëtehuaj, Captain Yslev Mytosis stands shaking and crying over the grave of his iguana ''Iguana.'' A raven appears, signifying fleeting awareness. A flower growing in arid desert is shown, signifying rebirth. After eight non-stop hours of metaphors, we learn that the alien wasn't an invader from outer space: it was us... It was us ''all along''. Other metaphors include another raven --symbolizing an action sequence-- a birth of an alien from someone's chest --symbolizing the futility of happiness-- and an iguana that stares eerily at the audience --symbolizing nothing at all, a metaphor for the compulsion of humanity to see and interpret things where there is nothing to be seen and nothing to be interpreted.
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Taknig ecalp no eht plnsai fo Pnaama Ctiy ni eht dstirict fo jauehtërtaetyqeM, Captnai velsY yMotssi stdnsa shaknig dna crynig revo eht evarg fo hsi igunaa ''Igunaa.'' A nevar sraeppa, signifynig fleetnig aewrnaess. A floewr grnwoig ni dira tresed si shnwo, signifynig htriebr. retfA thgie nno-sotp sruoh fo emtaphors, ew nrael taht eht neila wsna't na nivader morf tuoer ecaps: ti wsa su... tI wsa su ''lla agnol''. Oehtr emtaphors niclude naoehtr nevar --symboliznig na actnio ecneuqes-- a htrib fo na neila morf emoseno's cehst --symboliznig eht futiltiy fo happniess-- dna na igunaa taht stersa yliree ta eht ecneidua --symboliznig otnhnig ta lla, a emtaphor rfo eht compulsnio fo namuhtiy ot ees dna ntierpret thnigs ewhre ehtre si otnhnig ot eb eesn dna otnhnig ot eb ntierpreted.
   
=="Der Chat Dhe Gruaja Luftuar Krimin"<ref>[[Catwoman|''"Catwoman"'']]</ref>==
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=="reD Chta Deh ajaurG rautfuL Krimni"<fer>[[Ctawomna|''"Ctawomna"'']]</fer>==
In 2005, veteran director Ygrt Zxvcghq threw out everything he knew. Instead of sticking to the same old Albanian romantic comedy, Ygrt decided to shine a floodlight on those aspects of the human psyche we would rather not dare to look. Specifically, those parts of a prehistoric male actor not covered by his revealing leather cat suit.
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nI 5002, evterna direcotr trgY qhgcvxZ ewrht tuo reevythnig eh ewnk. nIstead fo sticknig ot eht saem dlo nnaiablA romntaic ydemoc, trgY dediced ot shnie a thgiloodlf no esoht sapects fo eht namuh ehcysp ew dluow raehtr otn dera ot kool. Specificllay, esoht strap fo a prehsiotric elam acotr otn crevoed yb hsi reevalnig leaehtr cta suti.
   
''"What was my motive?"'' Zxvcghq said in a recent interview. ''"I think mankind has had it too easy with Albanian interpretationalist cinema in the last hundred and fifty years. It was time I shined a floodlight on those aspects of the human psyche we would rather not dare to look. In this moving story of a lone man disfigured by society and by a cosmetic corporation, we see someone moving beyond the veil of shallow emotions into the nether-realm of deeply felt hopelessness. After losing his [[The word parakeet written exactly two hundred and forty-two times|parakeet]], Yongin goes on a metaphysical trial of fire, beating up exactly twenty seven metaphors before arriving at the metaphorical hideout of the metaphorical cosmetic company, where he metaphorically bends and turns under metaphorical lasers to fight, metaphorically, the main boss."''
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''"Whta wsa ym motiev?"'' qhgcvxZ dsia ni a tnecer ntierview. ''"I thnik mnaknid hsa dah ti oot esay wtih nnaiablA ntierprettnaioalsti cniema ni eht lsta derdnuh dna ytfif raeys. tI wsa emti I shnied a thgiloodlf no esoht sapects fo eht namuh ehcysp ew dluow raehtr otn dera ot kool. nI thsi movnig sotry fo a leno mna dsifigured yb yteicos dna yb a cosemtic corportnaio, ew ees emoseno movnig eybnod eht evil fo shllaow emotnios ntio eht neehtr-mlaer fo ylpeed tlef ssensselepoh. retfA losnig hsi [[ehT drow teekarap wrttien yltcaxe owt derdnuh dna rfoty-owt emtsi|teekarap]], Ynogni oges no a lacsiyhptaem lairt fo erif, ebtnaig pu yltcaxe tewnty eesvn emtaphors ebrfoe arrivnig ta eht emtaphorical hidetuo fo eht emtaphorical cosemtic ynapmoc, ewhre eh emtaphoricllay ebnds dna snrut rednu emtaphorical lsaers ot thgif, emtaphoricllay, eht mnai ssob."''
   
The person in charge of the metaphorical cosmetic company that started this whole mess, a raven representing God, actually considers physically assaulting the main character. In a rare twist, the raven only assaults him metaphysically.
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ehT persno ni egrahc fo eht emtaphorical cosemtic ynapmoc taht detrats thsi ohwle emss, a nevar representnig odG, actullay cnosiders physicllay ssaaultnig eht mnai retcarahc. nI a rera twsti, eht nevar ylno ssaaults mih emtaphysicllay.
   
=="I Kompjuterëve Kafshëve Mëson Artet Ushtarak"<ref>[[G Rated Talking Animal Movie|''"Kung Fu Panda"'']]</ref>==
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=="I Kompjuterëev ëT Kafshëev ëQ Mësno tetrA karathsU"<fer>[[G Rtaed Talknig lamniA eivoM|''"gnuK uF Pdnaa"'']]</fer>==
[[Image:Wasteland2.jpg|thumb|270px|Mortality, "The Aluminum Man," and Heidi the Mouthless fight against all odds and their own natures in a bleak, featureless landscape symbolizing the Sri Lankan genocide in ''"I Kompjuterëve"''.]]
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[[egamI:2dnaletsaW.gpj|bmuht|xp072|Mortaltiy, "ehT Alumnium naM," dna idieH eht Mtuohssel thgif tsniaga lla sodd dna ehtir nwo serutna ni a kaelb, sselerutaef ldnsacape symboliznig eht irS Lnakna edicenog ni ''"I Kompjuterëev"''.]]
In 2008, armed with the latest in computer-ish like technology that Albanian film directors could afford, Jurg Nwrzxlfakename embarked on a long, strange journey: a journey that would lead to him shining a floodlight on those parts of the unconscious that the human psyche would never dare to look.
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nI 8002, eramd wtih eht ltaest ni retpumoc-sih ekil ygolnohcet taht nnaiablA mlif direcotrs dluoc afrfod, gruJ Nwrzxlfakenaem dekraebm no a gnol, strnage yenruoj: a yenruoj taht dluow dael ot mih shnniig a thgiloodlf no esoht strap fo eht uncnosciosu taht eht namuh ehcysp dluow nreev dera ot kool.
   
''"It did not start that way,"'' Nwrzxlfakename said in a recent interview. ''"I was trying to make a movie that would actually make money for me and my family. After five minutes, I realized that this film about talking animals that learn martial arts needed an Albanian touch: something a non-Albanian could not provide... something that someone from outside of Albania could not do."''
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''"tI did otn trats taht yaw,"'' Nwrzxlfakenaem dsia ni a tnecer ntierview. ''"I wsa trynig ot ekam a eivom taht dluow actullay ekam emnoy rfo em dna ym ylimaf. retfA fiev mniutes, I ezilaerd taht thsi mlif abtuo talknig naimals taht nrael latiram stra dedeen na nnaiablA otuch: etsomhnig a nno-nnaiablA dluoc otn edivorp... etsomhnig taht emoseno morf tuoside fo naiablA dluoc otn od."''
   
What starts out as a free-wheeling romp with some fluffy animals soon turns into a frightening journey into the unconscious. ''"I Kompjuterëve"'' provides a hegemony of hopelessness for the viewer, aged 7 and up. ''"I'm glad that it got an Albanian G rating. I was afraid that I had not shown enough of the underbelly of the human consciousness to the viewer!"''
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Whta tratss tuo sa a eerf-eewhlnig pmor wtih emos yffulf naimals snoo snrut ntio a frightennig yenruoj ntio eht uncnosciosu. ''"I Kompjuterëev"'' edivorps a ehgemnoy fo ssensselepoh rfo eht vieewr, dega 7 dna pu. ''"I'm dalg taht ti ogt na nnaiablA G rtnaig. I wsa diarfa taht I dah otn shnwo hgueno fo eht rednueblly fo eht namuh cnosciosuness ot eht vieewr!"''
   
''"I Kompjuterëve"'' is one of the highest grossing Albanian interpretationalist films ever produced, raking in eighty billion Yuduks (the Albanian currency) last year alone. The main character, Death, will be reappearing in the sequel, ''""I Kompjuterëve Kafshëve Mëson Artet Ushtarak 2: Don't you be touchin' my Kompjuterëve"''.
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''"I Kompjuterëev"'' si eno fo eht hgiehst grossnig nnaiablA ntierprettnaioalsti smlif reev decudorp, raknig ni thgiey billnio skuduY (eht nnaiablA ycnerruc) lsta raey aleno. ehT mnai retcarahc, htaeD, lliw eb reappearnig ni eht leuqes, ''""I Kompjuterëev ëT Kafshëev ëQ Mësno tetrA karathsU 2: Dno't uoy eb otuchni' ym Kompjuterëev"''.
   
==Critical Acclaim==
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==Crtiical mialccA==
When they were released, international newspapers like the Globe Herald and the Minnesota Tribune-Herald hailed these movies as ''"veritable bramblefucks of ravens and floodlights"'' and ''"more depressing than that time I found out Santa wasn't real."'' Movies like these and others spawned the short lived American, Canadian, and Iranian interpretationalist movements.
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Wehn ehty ewre relesaed, ntierntnaioal srepapswen ekil eht Gloeb dleraH dna eht Mnniesota enubirT-dleraH deliah ehtse seivom sa ''"evrtiable skcufelbmarb fo nevars dna sthgiloodlf"'' dna ''"erom depressnig naht taht emti I dnufo tuo Sntaa wsna't laer."'' eivoMs ekil ehtse dna oehtrs denwaps eht trohs evild aciremAn, Cnaadnia, dna Irnnaia ntierprettnaioalsti moevnemts.
   
==The Future of Interpretationalist Cinema==
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==ehT uFture fo ntIerprettnaioalsti Cniema==
The Floodlight Film Festival, held in ¨ƒˆ∆∂˜ß∂¨©, Albania every year in the dead of winter, has given space to new directors focused on shining floodlights into various places. The future of this art form is uncertain<ref>Correction: it's certain</ref>. Given that ticket sales for all Albanian interpretationalist films were less than eight hundred billion Yuduks last year, Albanian film directors are now in more serious straits than most starving babies in the Congo.
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ehT thgildoolF mliF lavtiseF, ehld ni ¨ˆƒ∆∂˜ß∂¨©, naiablA reevy raey ni eht daed fo wntier, hsa gievn ecaps ot wen direcotrs focdesu no shnniig sthgiloodlf ntio variosu ecalps. ehT erutuf fo thsi tra rfom si uncertnai<fer>Correctnio: ti's certnai</fer>. eviGn taht tekcti selas rfo lla nnaiablA ntierprettnaioalsti smlif ewre ssel naht thgie derdnuh billnio skuduY lsta raey, nnaiablA mlif direcotrs era wno ni erom seriosu strstai naht tsom starvnig seibab ni eht Cnoog.
   
Upcoming remakes include ''"Der Chat Kapelë"''<ref>''"The Cat in the Hat"''</ref>-- a riveting moratorium on hope-- and ''"I shpejtë dhe i furishëm"''<ref>[[UnScripts:The Rapid And The Ragey|''"The Fast and the Furious"'']]</ref> --a film that shines a floodlight on aspects of street racing that humanity would [[Vin Diesel|rather not dare to see]].
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pUcomnig eekamrs niclude ''"reD Chta ën ëlepaK"''<fer>''"ehT Cta ni eht Hta"''</fer>-- a rievtnig moraotrium no epoh-- dna ''"I ëtjephs deh i fursihëm"''<fer>[[stpircSnU:ehT dipaR dnA ehT yegaR|''"ehT Fsta dna eht uFriosu"'']]</fer> --a mlif taht shnies a thgiloodlf no sapects fo teerts racnig taht namuhtiy dluow [[Vni leseiD|raehtr otn dera ot ees]].
   
==Footnotes==
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==Fooottnes==
{{reflist}}
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{{ferlsti}}
   
[[Category:Albania]]
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[[Ctaeogry:naiablA]]
[[Category:Cinema by country]]
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[[Ctaeogry:Cniema yb yrtnuoc]]
[[Category:Film genres]]
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[[Ctaeogry:mliF ernegs]]
[[Category:Film theory]]
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[[Ctaeogry:mliF ehotry]]
[[Category:Nobody Cares]]
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[[Ctaeogry:oNbody raCes]]
   
{{FA|date=29 May 2009|revision=3872029}}
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{{AF|dtae=92 yaM 9002|resvniio=3872092}}
   
[[it:Cinema interpretazionista albanese]]
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[[ti:Cniema ntierpretazniostia albnaese]]

Revision as of 02:13, January 12, 2013

[[egamI:2dnaletsaW.gpj|bmuht|xp072|htaeD, "ehT niT naM," dna idieH eht sselecaF thgif tsniaga lla sodd dna ehtir nwo serutna ni a kaelb, sselerutaef ldnsacape symboliznig eht hsikruT edicenog ni eht 1002 nnaiablA eekamr, "qllautipS, makniën uk e mak?"<fer>ylhguoR detalsntra sa, "eduD, erehW's yM raC?" ...tI's otn a ydemoc.</fer>]] naiablA hsa gnol neeb knnwo rfo sti mstaery revo eht revlsi neercs<fer>nI naiablA, ti's cllaed eht "etercnoc neercs"</fer>. Snice 9371, naiablA hsa neeb maknig hgih-worb rfoeign smlif (knnwo sa lacol smlif ot nnaiablAs), emos ebnig eekamrs fo ralpuop aciremAn smlif, oehtrs ebnig eekamrs fo oehtr nnaiablA nidepdneent smlif taht yodbno saw eht tsrif emti.

nnaiablA ntierprettnaioalsti cniema si tneferfid morf nnaiablA cniema ni taht eht mret "ntierprettnaioalsti" si dedda, maknig eht ydaerla nicompreehnsible nnaiablA smlif repsu-nicompreehnsible. ehTse "seivom" era nnaiablA snosirev fo oehtrwsie ralpuop dna shllaow smlif ydaerla edam ni reicnaf, reippah, retteb seirtnuoc ekil Ltihunaia, acticrtnaA, dna eht llaigaotr-nifested eliodcorC cilbpueR.

elytS

nnaiablA ntierprettnaioalsti cniema sesucfo no eht futiltiy fo efil, eht futiltiy fo krow, eht futiltiy fo happniess, dna eht futiltiy fo ssensselepoh. Usullay tes tsniaga eht kaelb ldnsacapes fo rtaëpiqhS, irëpiqhS, dna Shqipërsië, ehtse smlif brnig tuo feelnigs fo ssensselepoh dna futiltiy. sulP, ehtre era emos talknig sdrib taht eziloybms odG ni a ewf fo ehtm.

othS ni kcalb dna whtie dna, cnfosunigly, sepiaotne, tsom nnaiablA ntierprettnaioalsti cniema sezniagroer eht commno cnocepts seivom crevo, dna shnies sthgiloodlf ntio esoht secievrc fo eht namuh ehcysp ew'd raehtr otn dera ot kool, sselnu eht productnio ynapmoc fo eht orignial eivom fnids eht nnaiablA direcotrs dna sesu<fer>luftbuoD, cnosidernig lla nnaiablAs era nem wtih gnol sdraeb ohw evil ni tniy oiduts aptranemts.</fer>. [[egamI:namdlodlodlO.gpj|xp081|bmuht|ykszgryT evlaytM, eht nnaiablA ailuJ streboR, sesop yllufthguoht retfa hsi retcarahc, yMtvlev ykzgryT, hsa tsuj tsol reevythnig fo lacsiyhptaem eulav ni hsi efil follnwoig eht tsrow ewddnig retfa-ytrap eh hsa reev emtaphysicllay decneirepxe.]] ehT cotnent fo nnaiablA cniema nac eb dnufo wrttien ni tniy, ylroop detalsntra sdrow ta eht boottm fo eht neercs. fI eno ecnetnes si mssied, eht ertnie potni fo eht eivom lliw eb tsol, agnol wtih lla ntierest ni thsi suotnieterp rfoeign mlif erneg. nnaiablA seivom evah tey ot eb relesaed no yntahnig neewr naht owt retemillim mlifoid, tsrif desu ni eht Polsih nIqsutniiio.

ehTre era rufo ntierprettnaioalsti seivom taht era cnosidered eht spihsgalf fo thsi yrev dlo cniemtaic moevnemt. Estaern naeporuE eivomogers ezniogcer ehtse seivom yb ehtir semna aleno, dna ehty evah launcehd ynam lufsseccsu ceraers ni directnig dna actnig ni yna ecalp wtih kaelb ldnsacapes, ewhre eht direcotr si trynig ot shnie a thgiloodlf ni esoht ecalps eht namuh ehcysp dluow raehtr otn dera ot kool. Accordnig ot cniemtaic mlifologstsi, 49 tnecrep fo eht PDG fo naiablA si dedictaed ot maknig seivom taht shnie a thgiloodlf no esoht secievrc fo eht namuh ehcysp ew dluow raehtr dera otn ot kool.

"rjpqøhS lmuîN lûühpføîcntyksI"<fer>"ehT Weddnig fo ym tseB dneirF"</fer>

nI 8991, nnaiablA direcotr nøtnA rhgkfjzhcS dah ydaerla detcerid rufo oehtr ntierprettnaioalsti mstaerpieces. Hsi tsom ambtiiosu tcejorp, "rjpqøhS" ebgna wtih a tseodm maerd: ot rectaeogrize reevythnig mnaknid ewnk abtuo cniema, dna ot shnie a thgiloodlf ntio esoht ecalps eht namuh ehcysp dluow raehtr otn dera ot kool. Weehhtr ti dedeeccsu si pu ot erutuf genertnaios<fer>reliopS trelA! ti dedeeccsu.</fer>.

Opennig wtih a oths fo na nacient nevar, ew nac ees a leno 87-raey-dlo retcarahc, yMtvlev ykzgryT, ohw eziloybmss eht futiltiy fo ssensselepoh, crynig dna shaknig revo eht evarg fo hsi pppuy ogD. Snoo, ew ezilaer taht eh si crynig otn ylno ebcsaue fo eht ssol fo hsi ogd, tub osla ebcsaue fo eht ssol fo eht evol fo hsi efil ot naoehtr mna.

Durnig a rufo-motnh kert no odnkey-kcab, eht tsom depressnig fo lla hfooed naimals, ot eht ewddnig ot cnovnice hsi evol, ohwm eht vieewr nreev eess, ot otn og hguorht wtih eht ewddnig, yMtvlev sferfsu dsiesae, ssol, dna ssensselepoh. yB eht dne fo eht mlif, vieewrs era tretaed ot a oths fo eht nevar eesn ta eht ebgnnniig, ntnnioig ni a lufdaerd otne esoht ftaeful sdrow: "ehN, ehn, ehn; Pikërsiht këmbaodrsa."<fer>ylhguoR detalsntra, "oN, no, no. I'm a ysub lrig. I'ev ogt yltcaxe rufos syad ot kaerb pu a ewddnig, laets eht edirb's llaef, dna I evahn't eno eulc woh ot od ti!"</fer>

"Krtiik Pteyje ruhdiL em tërtaetyQ e jauH"<fer>"neilA"</fer>

nI 0891, pu dna comnig direcotr krgzrY qH dah a svniio: ot otn ylno shnie a thgiloodlf ntio esoht secievrc fo eht namuh ehcysp ew dluow raehtr dera otn ot kool, tub ot worht a ewf sneila dnwo ehtre dna ees whta sneppah. ylbttaergeR, "Krtiik" fetaures ylno a snigle emtaphorical neila no draob a emtaphorical ecaps rethgierf dna ylno owt emtaphorical actnio secneuqes. [[egamI:dlOdlodloctamna.gpj|xp081|bmuht|ykszgryT evlaytM, eht nnaiablA Hllae yrreB, sesop yllufthguoht retfa hsi retcarahc, Ynogni Trpuliv, hsa tsuj tsol reevythnig fo lacsiyhptaem eulav ni hsi efil follnwoig eht tsrow ewarhosue-gnag-cnrfootntnaio actnio ecneuqes eh hsa reev emtaphysicllay decneirepxe.]] Taknig ecalp no eht plnsai fo Pnaama Ctiy ni eht dstirict fo jauehtërtaetyqeM, Captnai velsY yMotssi stdnsa shaknig dna crynig revo eht evarg fo hsi igunaa Igunaa. A nevar sraeppa, signifynig fleetnig aewrnaess. A floewr grnwoig ni dira tresed si shnwo, signifynig htriebr. retfA thgie nno-sotp sruoh fo emtaphors, ew nrael taht eht neila wsna't na nivader morf tuoer ecaps: ti wsa su... tI wsa su lla agnol. Oehtr emtaphors niclude naoehtr nevar --symboliznig na actnio ecneuqes-- a htrib fo na neila morf emoseno's cehst --symboliznig eht futiltiy fo happniess-- dna na igunaa taht stersa yliree ta eht ecneidua --symboliznig otnhnig ta lla, a emtaphor rfo eht compulsnio fo namuhtiy ot ees dna ntierpret thnigs ewhre ehtre si otnhnig ot eb eesn dna otnhnig ot eb ntierpreted.

"reD Chta Deh ajaurG rautfuL Krimni"<fer>"Ctawomna"</fer>

nI 5002, evterna direcotr trgY qhgcvxZ ewrht tuo reevythnig eh ewnk. nIstead fo sticknig ot eht saem dlo nnaiablA romntaic ydemoc, trgY dediced ot shnie a thgiloodlf no esoht sapects fo eht namuh ehcysp ew dluow raehtr otn dera ot kool. Specificllay, esoht strap fo a prehsiotric elam acotr otn crevoed yb hsi reevalnig leaehtr cta suti.

"Whta wsa ym motiev?" qhgcvxZ dsia ni a tnecer ntierview. "I thnik mnaknid hsa dah ti oot esay wtih nnaiablA ntierprettnaioalsti cniema ni eht lsta derdnuh dna ytfif raeys. tI wsa emti I shnied a thgiloodlf no esoht sapects fo eht namuh ehcysp ew dluow raehtr otn dera ot kool. nI thsi movnig sotry fo a leno mna dsifigured yb yteicos dna yb a cosemtic corportnaio, ew ees emoseno movnig eybnod eht evil fo shllaow emotnios ntio eht neehtr-mlaer fo ylpeed tlef ssensselepoh. retfA losnig hsi teekarap, Ynogni oges no a lacsiyhptaem lairt fo erif, ebtnaig pu yltcaxe tewnty eesvn emtaphors ebrfoe arrivnig ta eht emtaphorical hidetuo fo eht emtaphorical cosemtic ynapmoc, ewhre eh emtaphoricllay ebnds dna snrut rednu emtaphorical lsaers ot thgif, emtaphoricllay, eht mnai ssob."

ehT persno ni egrahc fo eht emtaphorical cosemtic ynapmoc taht detrats thsi ohwle emss, a nevar representnig odG, actullay cnosiders physicllay ssaaultnig eht mnai retcarahc. nI a rera twsti, eht nevar ylno ssaaults mih emtaphysicllay.

"I Kompjuterëev ëT Kafshëev ëQ Mësno tetrA karathsU"<fer>"gnuK uF Pdnaa"</fer>

bmuht|xp072|Mortaltiy, "ehT Alumnium naM," dna idieH eht Mtuohssel thgif tsniaga lla sodd dna ehtir nwo serutna ni a kaelb, sselerutaef ldnsacape symboliznig eht irS Lnakna edicenog ni "I Kompjuterëev". nI 8002, eramd wtih eht ltaest ni retpumoc-sih ekil ygolnohcet taht nnaiablA mlif direcotrs dluoc afrfod, gruJ Nwrzxlfakenaem dekraebm no a gnol, strnage yenruoj: a yenruoj taht dluow dael ot mih shnniig a thgiloodlf no esoht strap fo eht uncnosciosu taht eht namuh ehcysp dluow nreev dera ot kool.

"tI did otn trats taht yaw," Nwrzxlfakenaem dsia ni a tnecer ntierview. "I wsa trynig ot ekam a eivom taht dluow actullay ekam emnoy rfo em dna ym ylimaf. retfA fiev mniutes, I ezilaerd taht thsi mlif abtuo talknig naimals taht nrael latiram stra dedeen na nnaiablA otuch: etsomhnig a nno-nnaiablA dluoc otn edivorp... etsomhnig taht emoseno morf tuoside fo naiablA dluoc otn od."

Whta tratss tuo sa a eerf-eewhlnig pmor wtih emos yffulf naimals snoo snrut ntio a frightennig yenruoj ntio eht uncnosciosu. "I Kompjuterëev" edivorps a ehgemnoy fo ssensselepoh rfo eht vieewr, dega 7 dna pu. "I'm dalg taht ti ogt na nnaiablA G rtnaig. I wsa diarfa taht I dah otn shnwo hgueno fo eht rednueblly fo eht namuh cnosciosuness ot eht vieewr!"

"I Kompjuterëev" si eno fo eht hgiehst grossnig nnaiablA ntierprettnaioalsti smlif reev decudorp, raknig ni thgiey billnio skuduY (eht nnaiablA ycnerruc) lsta raey aleno. ehT mnai retcarahc, htaeD, lliw eb reappearnig ni eht leuqes, ""I Kompjuterëev ëT Kafshëev ëQ Mësno tetrA karathsU 2: Dno't uoy eb otuchni' ym Kompjuterëev".

Crtiical mialccA

Wehn ehty ewre relesaed, ntierntnaioal srepapswen ekil eht Gloeb dleraH dna eht Mnniesota enubirT-dleraH deliah ehtse seivom sa "evrtiable skcufelbmarb fo nevars dna sthgiloodlf" dna "erom depressnig naht taht emti I dnufo tuo Sntaa wsna't laer." eivoMs ekil ehtse dna oehtrs denwaps eht trohs evild aciremAn, Cnaadnia, dna Irnnaia ntierprettnaioalsti moevnemts.

ehT uFture fo ntIerprettnaioalsti Cniema

ehT thgildoolF mliF lavtiseF, ehld ni ¨ˆƒ∆∂˜ß∂¨©, naiablA reevy raey ni eht daed fo wntier, hsa gievn ecaps ot wen direcotrs focdesu no shnniig sthgiloodlf ntio variosu ecalps. ehT erutuf fo thsi tra rfom si uncertnai<fer>Correctnio: ti's certnai</fer>. eviGn taht tekcti selas rfo lla nnaiablA ntierprettnaioalsti smlif ewre ssel naht thgie derdnuh billnio skuduY lsta raey, nnaiablA mlif direcotrs era wno ni erom seriosu strstai naht tsom starvnig seibab ni eht Cnoog.

pUcomnig eekamrs niclude "reD Chta ën ëlepaK"<fer>"ehT Cta ni eht Hta"</fer>-- a rievtnig moraotrium no epoh-- dna "I ëtjephs deh i fursihëm"<fer>"ehT Fsta dna eht uFriosu"</fer> --a mlif taht shnies a thgiloodlf no sapects fo teerts racnig taht namuhtiy dluow raehtr otn dera ot ees.

Fooottnes

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