{"id":60076,"date":"2020-10-01T23:01:46","date_gmt":"2020-10-01T21:01:46","guid":{"rendered":"https:\/\/fjala.info\/?p=60076"},"modified":"2020-10-02T00:33:02","modified_gmt":"2020-10-01T22:33:02","slug":"kinemaja-dhe-identiteti-kombetar-si-e-manipuluan-identitetin-etno-fetar-te-nene-terezes-studiot-e-filmit-jugosllav-ne-nje-biografi-italiane","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/kinemaja-dhe-identiteti-kombetar-si-e-manipuluan-identitetin-etno-fetar-te-nene-terezes-studiot-e-filmit-jugosllav-ne-nje-biografi-italiane\/","title":{"rendered":"Kinemaja dhe identiteti komb\u00ebtar: Si e manipuluan identitetin etno-fetar t\u00eb N\u00ebn\u00eb Terez\u00ebs studiot e filmit jugosllav n\u00eb nj\u00eb biografi italiane"},"content":{"rendered":"

Ekstrakt<\/a><\/p>\n

G\u00ebzim Alpion<\/strong> – p\u00ebrktheu nga anglishtja, Arben \u00c7okaj<\/a><\/em><\/p>\n

Ky \u00ebsht\u00eb nj\u00eb fragment nga libri i fundit i G\u00ebzim Alpion “N\u00ebn\u00eb Tereza: Shenjtorja dhe kombi i saj”, botuar m\u00eb 31 korrik 2020 nga Bloomsbury Academic n\u00eb New Delhi, London, Oxford, New York dhe Sydney; 320 faqe, ISBN: HB: 978-93-89165-04-3; Libri elektronik: 978-93-89165-06-7; Bloomsbury.com\/<\/a>.<\/p>\n

Fragmenti \u00ebsht\u00eb botuar me lejen dashamir\u00ebse t\u00eb autorit dhe Bloomsbury Academic.<\/em><\/p>\n

N\u00ebn\u00eb Tereza me origjin\u00eb shqiptare (nofka Gonxhe Agnes Bojaxhiu) b\u00ebri deklarat\u00ebn e m\u00ebposhtme p\u00ebr mediat bot\u00ebrore n\u00eb Oslo, nd\u00ebrsa mori \u00c7mimin Nobel p\u00ebr Paqe n\u00eb Dhjetor 1979: Nga gjaku dhe origjina, un\u00eb jam e gjitha shqiptare. Shtet\u00ebsia ime \u00ebsht\u00eb indiane. Un\u00eb jam nj\u00eb murgesh\u00eb katolike. Sa i p\u00ebrket thirrjes sime, un\u00eb i p\u00ebrkas t\u00eb gjith\u00eb bot\u00ebs. Sa i p\u00ebrket zemr\u00ebs sime, un\u00eb i p\u00ebrkas t\u00ebr\u00ebsisht zemr\u00ebs s\u00eb Jezusit<\/em>.1<\/sup><\/p>\n

K\u00ebto fjal\u00eb kapsuluan qart\u00eb fenomenin e njohur si N\u00ebn\u00eb Tereza. Ishte nj\u00eb deklarat\u00eb q\u00eb p\u00ebrshkruante shkurtimisht dhe pa m\u00ebdyshje identitetin e saj si nj\u00eb individ, natyr\u00ebn universale t\u00eb misionit t\u00eb saj dhe besnik\u00ebrin\u00eb p\u00ebrfundimtare, q\u00eb mb\u00ebshteti ekzistenc\u00ebn e saj. Pavar\u00ebsisht nga qart\u00ebsia e N\u00ebn\u00eb Terez\u00ebs n\u00eb lidhje me identitetin e saj, nj\u00eb num\u00ebr qarqesh brenda dhe jasht\u00eb Ballkanit kan\u00eb b\u00ebr\u00eb p\u00ebrpjekje p\u00ebr t\u00eb mohuar prejardhjen e saj shqiptare krejt\u00ebsisht dhe ta paraqesin at\u00eb si nj\u00eb Serbe, Kroate, Sllave Maqedonase, Vllehe ose nj\u00eb Italiane.<\/p>\n

\"\"<\/a><\/p>\n

Q\u00ebllimet kryesore t\u00eb p\u00ebrpjekjeve t\u00eb tilla jan\u00eb t\u00eb dyfishta. S\u00eb pari<\/em>, ato synojn\u00eb t\u00eb minojn\u00eb ndikimin e mjedisit familjar, etnik, kulturor dhe shpirt\u00ebror t\u00eb N\u00ebn\u00eb Terez\u00ebs. S\u00eb dyti<\/em>, ato jan\u00eb pjes\u00eb e p\u00ebrpjekjeve t\u00eb vazhdueshme t\u00eb zhvilluara n\u00eb Ballkan dhe m\u00eb gjer\u00eb, p\u00ebr t\u00eb fshir\u00eb trash\u00ebgimin\u00eb e lasht\u00eb t\u00eb krishter\u00eb t\u00eb shqiptar\u00ebve dhe p\u00ebr t’i paraqitur ata si \u2018t\u00eb sapoardhurit’ n\u00eb rajon.<\/p>\n

P\u00ebrpjekje t\u00eb tilla filluan n\u00eb vitet 1960 dhe 1970, kur reputacioni nd\u00ebrkomb\u00ebtar i N\u00ebn\u00eb Terez\u00ebs si nj\u00eb personalitet fetar dhe humanitare e madhe po rritej n\u00eb t\u00eb gjith\u00eb bot\u00ebn.2<\/sup><\/p>\n

Ato u intensifikuan pasi asaj iu dha \u00c7mimi Nobel p\u00ebr Paqen dhe jan\u00eb n\u00eb vazhdim e sip\u00ebr.3<\/sup><\/p>\n

Autoritetet jugosllave ishin ve\u00e7an\u00ebrisht t\u00eb etura p\u00ebr t\u00eb mbajtur t\u00eb fsheht\u00eb etnin\u00eb e murgesh\u00ebs. Artikulli p\u00ebrqendrohet n\u00eb p\u00ebrpjekjet e b\u00ebra nga industria e filmit Jugosllav p\u00ebr t\u00eb keqinterpretuar dhe shtremb\u00ebruar rr\u00ebnj\u00ebt etno-fetare t\u00eb N\u00ebn\u00eb Terez\u00ebs, n\u00eb prag t\u00eb \u00e7mimit Nobel. Kjo ilustrohet nga rrethanat intriguese q\u00eb \u00e7uan n\u00eb prodhimin e biografis\u00eb italiane t\u00eb Brunello Rondi n\u00eb vitin 1982, La Voce: Infanzia e giovinezza di Madre Teresa di Calcutta<\/em><\/a>, \u2018The Voice: The Childhood and Youth of Mother Tereza of<\/em> Calcutta<\/em>\u2019. Kjo \u00ebsht\u00eb hera e par\u00eb, q\u00eb nd\u00ebrhyrja jugosllave n\u00eb prodhimin e filmit b\u00ebhet publike.<\/p>\n

Kah fundi i vitit 1979, Radiotelevisione italiana, RAI, nd\u00ebrmarrja komb\u00ebtare e transmetimit publik e Italis\u00eb, iu drejtua Chiara Film Studio n\u00eb lidhje me prodhimin e nj\u00eb filmi p\u00ebr vitet e para t\u00eb N\u00ebn\u00eb Terez\u00ebs n\u00eb Shkup. Projekti ishte ideja e Gjon Kolndrekaj<\/strong> me origjin\u00eb shqiptare nga Kosova, i cili, n\u00eb at\u00eb koh\u00eb, ishte nj\u00eb drejtor televiziv me transmetuesin.4<\/sup><\/p>\n

Kjo ishte p\u00ebrpjekja e par\u00eb serioze p\u00ebr t\u00eb regjistruar historin\u00eb e familjes s\u00eb N\u00ebn\u00eb Terez\u00ebs dhe vitet e para t\u00eb saj n\u00eb Shkup. Kolndrekaj, e cila e njihte N\u00ebn\u00eb Terez\u00ebn personalisht dhe ishte n\u00eb kontakt me t\u00eb nga 1977 n\u00eb 1996, bashk\u00eb-shkroi skenarin me Rondi dhe Tullio Pinelli, pas intervistave me t\u00eb dhe v\u00ebllain e saj, Lazrin, gjat\u00eb nj\u00eb numri takimesh n\u00eb Rom\u00eb.<\/p>\n

Kolndrekaj gjithashtu u k\u00ebshillua me nj\u00eb num\u00ebr studiuesish, klerik\u00ebsh dhe artist\u00ebsh nga Kosova, Maqedonia dhe m\u00eb gjer\u00eb, t\u00eb cil\u00ebt e njihnin N\u00ebn\u00eb Terez\u00ebn dhe familjen e saj n\u00eb Shkup, ose ishin n\u00eb kontakt me t\u00eb, gjat\u00eb koh\u00ebs q\u00eb projekti po merrte form\u00eb.5<\/sup><\/p>\n

S\u00eb bashku me Rondi dhe producentin italian Oscar Brazzi, Kolndrekaj vizitoi nj\u00eb num\u00ebr vendesh n\u00eb Kosov\u00eb dhe Maqedoni n\u00eb N\u00ebntor dhe Dhjetor 1979, p\u00ebr t\u00eb identifikuar vendet p\u00ebr filmin. Deri n\u00eb at\u00eb koh\u00eb, ai gjithashtu kishte bashkuar nj\u00eb kast t\u00eb njohur nd\u00ebrkomb\u00ebtar.<\/p>\n

Roli i N\u00ebn\u00eb Terez\u00ebs si f\u00ebmij\u00eb iu ofrua aktores italiane Liliana Tari<\/em>, nd\u00ebrsa pjesa e n\u00ebn\u00ebs s\u00eb saj t\u00eb re shkoi te Marisa Belli<\/em>, gjithashtu nj\u00eb italiane. Aktorja angleze dy her\u00eb fituese e \u00c7mimit t\u00eb Akademis\u00eb Glenda Jackson<\/em> ishte e lumtur q\u00eb u hodh n\u00eb rolin e N\u00ebn\u00eb Terez\u00ebs n\u00eb nj\u00eb num\u00ebr skenash, q\u00eb tregonin murgesh\u00ebn n\u00eb pun\u00eb n\u00eb Indi, deri n\u00eb dh\u00ebnien e \u00c7mimit Nobel t\u00eb vitit 1979. Dy yje t\u00eb tjer\u00eb me fam\u00eb bot\u00ebrore, Irene Papas<\/strong> e lindur n\u00eb Greqi dhe Bekim Fehmiu<\/strong> me origjin\u00eb shqiptare, ran\u00eb dakord t\u00eb luanin prind\u00ebrit e Gonxhes, Nikoll\u00eb dhe Drane, e cila njihet gjithashtu si Roza. Stelvio Cipriani u afrua p\u00ebr t\u00eb kompozuar muzik\u00ebn.<\/p>\n

Me gjith\u00e7ka n\u00eb vend, u ra dakord q\u00eb xhirimet t\u00eb fillonin n\u00eb dhjetor 1980.6<\/sup><\/p>\n

Data e fillimit u propozua nga Kolndrekaj, i cili d\u00ebshironte t\u00eb p\u00ebrfundonte s\u00eb pari Happy Circus<\/em>, nj\u00eb program prej 60 pjes\u00ebsh, q\u00eb ai po prodhonte n\u00eb at\u00eb koh\u00eb p\u00ebr Rai Uno, kanali kryesor televiziv i RAI. Ekipi italian filloi xhirimet pa Kolndrekaj n\u00eb n\u00ebntor 1980. Arsyeja kryesore p\u00ebr k\u00ebt\u00eb ishte marr\u00ebveshja, q\u00eb Brazzi kishte siguruar p\u00ebr projektin me tre studiot e filmit jugosllav: Avala Film<\/em> n\u00eb Serbi, Kroaten Jadran Film<\/em> dhe Vardam Film<\/em> me baz\u00eb n\u00eb Shkup.<\/p>\n

Mb\u00ebshtetja e ofruar nga industria e filmit Jugosllav p\u00ebr filmin N\u00ebn\u00eb Tereza ishte shum\u00eb e mir\u00eb p\u00ebr t’u refuzuar. E keqja e saj ishte se marr\u00ebveshja erdhi me nj\u00eb num\u00ebr t\u00eb vargjeve t\u00eb bashkangjitura.<\/p>\n

Brazzi ra dakord me leht\u00ebsi p\u00ebr kushtet e p\u00ebrcaktuara nga Jugosllav\u00ebt. Ai nuk e informoi Kolndrekaj p\u00ebr marr\u00ebveshjen, kur filluan filmimet ose gjat\u00eb procesit t\u00eb redaktimit. Kur projekti p\u00ebrfundoi m\u00eb n\u00eb fund, Kolndrekaj organizoi n\u00eb Rom\u00eb nj\u00eb shikim privat t\u00eb filmit p\u00ebrfundimtar, me disa nga njer\u00ebzit, q\u00eb e kishin k\u00ebshilluar at\u00eb gjat\u00eb faz\u00ebs s\u00eb skenarit. N\u00eb at\u00eb koh\u00eb ai u b\u00eb i vet\u00ebdijsh\u00ebm, p\u00ebr her\u00eb t\u00eb par\u00eb, p\u00ebr mas\u00ebn e plot\u00eb t\u00eb ndryshimeve t\u00eb k\u00ebrkuara nga mb\u00ebshtet\u00ebsit jugosllav\u00eb. Ndryshime t\u00eb tilla kishin ndikuar ndjesh\u00ebm n\u00eb aranzhimet origjinale n\u00eb lidhje me vendet, kostumet dhe komplotin.<\/p>\n

N\u00eb nj\u00eb sken\u00eb, p\u00ebr shembull, Gonxhe e vog\u00ebl tregohet t\u00eb jet\u00eb n\u00eb nj\u00eb gjendje p\u00ebrqendrimi t\u00eb thell\u00eb n\u00eb nj\u00eb sht\u00ebpi adhurimi. Me rekomandim t\u00eb konsulent\u00ebve sllav\u00eb serb\u00eb dhe maqedonas, Rondi xhiroi sken\u00ebn jo n\u00eb nj\u00eb Kish\u00eb Katolike Romake, si\u00e7 ishte planifikuar fillimisht, por n\u00eb Manastirin Ortodoks Lindor t\u00eb Sh\u00ebn Naumit<\/strong> n\u00eb Oh\u00ebr, Maqedonin\u00eb jug-per\u00ebndimore. Vendosja e re u zgjodh p\u00ebr t\u00eb paraqitur N\u00ebn\u00eb Terez\u00ebn si nj\u00eb Ortodokse dhe jo nj\u00eb Katolike Romake.<\/p>\n

Devijimi i dyt\u00eb<\/em> i madh nga plani origjinal kishte t\u00eb b\u00ebnte me veshjet e personazheve. An\u00ebtar\u00ebt e familjes Bojaxhiu ishin veshur me kostume popullore serbe dhe sllave<\/strong> maqedonase. Ky keqinterpretim u prezantua p\u00ebr t\u00eb paraqitur N\u00ebn\u00eb Terez\u00ebn dhe familjen dhe t\u00eb af\u00ebrmit e saj, jo si shqiptar\u00eb etnik\u00eb por si sllav\u00eb.<\/p>\n

Ndryshimi i tret\u00eb<\/em> i r\u00ebnd\u00ebsish\u00ebm lidhej me q\u00ebndrimin e Bojaxhiut ndaj \u00e7\u00ebshtjes komb\u00ebtare shqiptare. P\u00ebrkund\u00ebr asaj q\u00eb ishte shkruar para se t\u00eb fillonte xhirimi, filmi pretendon se paraardh\u00ebsit e Gonxhe kishin luftuar vet\u00ebm kund\u00ebr osman\u00ebve<\/strong>. P\u00ebr t\u00eb \u2018v\u00ebrtetuar\u2019 k\u00ebt\u00eb pretendim, Rondi kishte shtuar nj\u00eb personazh tjet\u00ebr, gjyshin at\u00ebror t\u00eb N\u00ebn\u00eb Terez\u00ebs, Laz\u00ebr Bojaxhiu. Patriarku u portretizua si nj\u00eb njeri i pasur, i cili d\u00ebshironte t\u00eb financonte rezistenc\u00ebn kund\u00ebr Osman\u00ebve.<\/p>\n

Ashtu si shok\u00ebt e tyre shqiptar\u00eb n\u00eb Kosov\u00eb, Bojaxhit\u00eb p\u00ebr breza t\u00eb t\u00ebr\u00eb ishte kund\u00ebr sundimit Osman. Sidoqoft\u00eb, n\u00eb koh\u00ebn kur lindi Gonxhe dhe v\u00ebllez\u00ebrit e motrat e saj m\u00eb t\u00eb m\u00ebdhenj, babai i saj, Nikoll\u00eb – s\u00eb bashku me bashkatdhetar\u00eb t\u00eb tjer\u00eb n\u00eb Vilajetin e Kosov\u00ebs, pavar\u00ebsisht nga p\u00ebrkat\u00ebsia e tyre fetare – ishte n\u00eb t\u00eb nj\u00ebjt\u00ebn m\u00ebnyr\u00eb kund\u00ebr mizorive t\u00eb kryera nga Sllav\u00ebt kund\u00ebr popullsis\u00eb Shqiptare dhe planet p\u00ebr aneksimin e territoreve shqiptare.<\/p>\n

I pak\u00ebnaqur me ndryshimet n\u00eb skenarin origjinal, Kolndrekaj informoi Brazzi dhe Rai Uno se ai nuk d\u00ebshironte m\u00eb t\u00eb shoq\u00ebrohej me projektin. Ai nuk ishte i gatsh\u00ebm t\u00eb thyej\u00eb premtimin, q\u00eb i kishte dh\u00ebn\u00eb N\u00ebn\u00eb Terez\u00ebs se biografia do t\u00eb ishte e v\u00ebrtet\u00eb p\u00ebr jet\u00ebn.<\/p>\n

Q\u00ebndrimi parimor i Kolndrekaj u mb\u00ebshtet gjithashtu nga njer\u00ebzit q\u00eb e kishin k\u00ebshilluar gjat\u00eb faz\u00ebs s\u00eb shkrimit t\u00eb skenarit. Ata t\u00eb gjith\u00eb ran\u00eb dakord se filmi arriti n\u00eb nj\u00eb p\u00ebrpjekje t\u00eb q\u00ebllimshme nga ana e qarqeve jugosllave, q\u00eb kishin mb\u00ebshtetur projektin, p\u00ebr t\u00eb keqinterpretuar rr\u00ebnj\u00ebt etno-fetare t\u00eb N\u00ebn\u00eb Terez\u00ebs dhe natyr\u00ebn e lidhjes s\u00eb Bojaxhinjve me \u00e7\u00ebshtjen komb\u00ebtare shqiptare.<\/p>\n

N\u00eb k\u00ebto rrethana, Kolndrekaj dhe ekipi i tij arrit\u00ebn n\u00eb p\u00ebrfundimin, se filmi i p\u00ebrfunduar nuk ishte i p\u00ebrshtatsh\u00ebm p\u00ebr t’u shfaqur n\u00eb televizion, jo vet\u00ebm n\u00eb Itali dhe Jugosllavi, por edhe n\u00eb ndonj\u00eb vend tjet\u00ebr, pasi p\u00ebrb\u00ebnte nj\u00eb prishje t\u00eb q\u00ebllimshme t\u00eb s\u00eb v\u00ebrtet\u00ebs. Kolndrekaj ia p\u00ebrcolli shqet\u00ebsimet e tij n\u00eb lidhje me filmin N\u00ebn\u00eb Terez\u00ebs pa vones\u00eb. Murgesha i tha atij q\u00eb t\u00eb mos shqet\u00ebsohej p\u00ebr k\u00ebt\u00eb, duke shtuar: \u2018 Zoti do t\u00eb b\u00ebj\u00eb di\u00e7ka, p\u00ebr k\u00ebt\u00eb padrejt\u00ebsi <\/em> ‘.<\/p>\n

Murgesha me ndikim si\u00e7 duket nuk e la k\u00ebt\u00eb \u00e7\u00ebshtje vet\u00ebm n\u00eb duart e Zotit.<\/p><\/blockquote>\n

Si rezultat i nd\u00ebrhyrjes s\u00eb saj, filmi nuk u shfaq, si\u00e7 ishte planifikuar, n\u00eb Rai Uno n\u00eb Mars 1981. As nuk u shfaq nga ndonj\u00eb stacion tjet\u00ebr televiziv n\u00eb Itali, Kroaci, Serbi dhe Maqedoni p\u00ebr sa koh\u00eb q\u00eb ajo ishte gjall\u00eb. Kjo \u2018embargo<\/em>\u2019 u thye p\u00ebr her\u00eb t\u00eb par\u00eb nga Rai Uno vet\u00ebm m\u00eb 6 shtator 1997 n\u00eb 3.40 t\u00eb m\u00ebngjesit. N\u00eb at\u00eb koh\u00eb, N\u00ebn\u00eb Tereza kishte vdekur p\u00ebr rreth tet\u00eb or\u00eb.<\/p>\n

Dr. G\u00ebzim Alpion \u00ebsht\u00eb nj\u00eb sociolog n\u00eb Universitetin e Birmingham, MB. Ai mori nj\u00eb doktoratur\u00eb nga Universiteti i Durham, MB, n\u00eb 1997. Publikimet e tij kryesore p\u00ebrfshijn\u00eb N\u00ebn\u00eb Terez\u00ebn Sh\u00ebn apo Famsh\u00ebm? (Routledge 2007), Sikur vet\u00ebm t\u00eb vdekurit t\u00eb mund t\u00eb d\u00ebgjonin (Globic Press 2008), Takime me civilizimet: nga Aleksandri i Madh te N\u00ebn\u00eb Tereza (Routledge 2017) dhe N\u00ebn\u00eb Tereza: Shenjtori dhe kombi i saj (Bloomsbury Academic 2020). Alpion konsiderohet si author autori m\u00eb autoritativ n\u00eb gjuh\u00ebn angleze \u2019n\u00eb Sh\u00ebn Terez\u00ebn e Kalkut\u00ebs dhe\u2018 themeluesi i Studimeve t\u00eb N\u00ebn\u00eb Terez\u00ebs\u2019.<\/p><\/blockquote>\n

\n

1. Eileen Egan. 1986. Nj\u00eb Vizion i till\u00eb i Rrug\u00ebs: N\u00ebn\u00eb Tereza – Shpirti dhe Puna. New York: Doubleday, f. 413.<\/em><\/p>\n

2. P\u00ebr informacion mbi fam\u00ebn nd\u00ebrkomb\u00ebtare n\u00eb rritje t\u00eb N\u00ebn\u00eb Terez\u00ebs nga vitet 1960 e tutje shih G\u00ebzim Alpion. 2006. \u2018Media dhe kultura e famsh\u00ebm: qasjet subjektiviste, strukturaliste dhe post-strukturaliste p\u00ebr statusin e famsh\u00ebm t\u00eb N\u00ebn\u00eb Terez\u00ebs\u2019. Continuum: Journal of Media & Cultural Studies, 20 (4): 541-557; dhe G\u00ebzim Alpion. 2020. \u2018Pse mungojn\u00eb ikonat moderne shpirt\u00ebrore n\u00eb studimet e famsh\u00ebm? Roli i nd\u00ebrmjet\u00ebsve n\u00eb p\u00ebrmir\u00ebsimin e avokimit t\u00eb N\u00ebn\u00eb Terez\u00ebs n\u00eb Indi dhe Australi para \u00c7mimit Nobel p\u00ebr Paqen 1979 ‘. Studime t\u00eb Famsh\u00ebm, 11 (2): 221-236.<\/em><\/p>\n

3. P\u00ebr informacion mbi p\u00ebrpjekjet p\u00ebr t\u00eb mohuar p\u00ebrkat\u00ebsin\u00eb etnike shqiptare t\u00eb N\u00ebn\u00eb Terez\u00ebs dhe p\u00ebr ta paraqitur at\u00eb si nj\u00eb serb, kroat, sllav sllav maqedonas, vlleh dhe nj\u00eb italian shih G\u00ebzim Alpion. 2004. \u2018Media, etnia dhe patriotizmi: Ballkani war luft\u00eb e pa shenjt\u00eb\u2019 p\u00ebr p\u00ebrvet\u00ebsimin e N\u00ebn\u00eb Terez\u00ebs\u2019. Gazeta e Evrop\u00ebs Jugore dhe Ballkanit (tani Gazeta e Studimeve Ballkanike dhe t\u00eb Lindjes s\u00eb Af\u00ebrt), 6 (3): 227-243; G\u00ebzim Alpion. 2007. N\u00ebn\u00eb Tereza: Shenjtore apo e Famshme? Lond\u00ebr dhe Nju Jork: Routledge; dhe G\u00ebzim Alpion. 2020. N\u00ebn\u00eb Tereza: Shenjta dhe kombi i saj. New Delhi, London, Oxford, New York dhe Sydney: Bloomsbury Academic.<\/em><\/p>\n

4. G\u00ebzim Alpion shk\u00ebmbeu pik\u00ebpamje me Gjon Kolndrekaj n\u00eb lidhje me k\u00ebt\u00eb film dhe aspekte t\u00eb tjera t\u00eb jet\u00ebs dhe pun\u00ebs s\u00eb N\u00ebn\u00eb Terez\u00ebs n\u00eb takimet n\u00eb Rom\u00eb, dhe p\u00ebrmes bisedave telefonike dhe post\u00ebs elektronike t\u00eb shk\u00ebmbyera gjat\u00eb periudh\u00ebs 2008-2020.<\/em><\/p>\n

5. K\u00ebta jan\u00eb disa nga njer\u00ebzit q\u00eb Gjon Kolndrekaj u k\u00ebshillua n\u00eb Kosov\u00eb, Maqedoni dhe Itali nd\u00ebrsa po shkruante skenarin e filmit La Voce: Lorenc Antoni, Anton \u00c7eta, At Lush Gjergji, At Gjergj Gjergji, At Eleuterio Francesco Fortino dhe Albert Akshija.<\/em><\/p>\n

6. Rilindja. 1980. \u2018Xhirohet filmi mbi N\u00ebn\u00ebn Tereze\u2019. Rilindja, Prishtin\u00eb, 25 tetor.<\/em><\/p>\n

Burimi<\/strong>:
\nhttp:\/\/www.fipresci-india.online\/wp-content\/uploads\/2020\/09\/33.-Gezim-Alpion-Mother-Teresa.pdf<\/a><\/p>\n

\n

E N G L I S H<\/em><\/p>\n

Cinema and National Identity: How Yugoslav film studios manipulated Mother Teresa\u2019s ethno-religious identity in an Italian biopic<\/strong><\/h3>\n

Excerpt<\/a><\/p>\n

G\u00ebzim Alpion<\/strong><\/p>\n

This is an excerpt from G\u00ebzim Alpion\u2019s latest book Mother Teresa: The Saint and Her Nation, published on 31 July 2020 by Bloomsbury Academic in New Delhi, London, Oxford, New York and Sydney; 320 pages, ISBN: HB: 978-93-89165-04-3; eBook: 978-93-89165-06-7; Bloomsbury.com\/<\/a>.<\/p>\n

The excerpt has been published with the kind permission of the author and Bloomsbury Academic.<\/em><\/p>\n

Albanian-born Mother Teresa (n\u00e9e Gonxhe Agnes Bojaxhiu) made the following statement to the world media in Oslo whilst collecting the Nobel Peace Prize in December 1979: By blood and origin, I am all Albanian. My citizenship is Indian. I am a Catholic nun. As to my calling, I belong to the whole world. As to my heart, I belong entirely to the heart of Jesus<\/em>.1<\/sup><\/p>\n

These words encapsulated clearly the phenomenon known as Mother Teresa. It was a statement that succinctly and unequivocally depicted her identity as an individual, the universal nature of her ministry and the ultimate loyalty that sustained her existence. Notwithstanding Mother Teresa\u2019s clarity about her own identity, a number of circles in and outside the Balkans have made efforts to deny her Albanian ancestry altogether and present her as a Serb, Croat, Macedonian Slav, Vlach, or an Italian.<\/p>\n

\"\"<\/a><\/p>\n

The main goals of such attempts are twofold. First, they aim to undermine the impact of the familial, ethnic, cultural, and spiritual milieus on Mother Teresa. Secondly, they are part of sustained efforts waged in the Balkans and beyond to erase Albanians\u2019 ancient Christian legacy and present them as \u2018newcomers\u2019 to the region.<\/p>\n

Such attempts began in the 1960s and 1970s when Mother Teresa international standing as a religious personality and a great humanitarian was growing worldwide.2<\/sup><\/p>\n

They intensified after she was awarded the Nobel Prize for Peace and are ongoing.3<\/sup><\/p>\n

Yugoslav authorities were especially keen to keep the nun\u2019s ethnicity under wraps. The article focuses on the attempts made by the Yugoslav film industry to misrepresent and distort Mother Teresa\u2019s ethno-religious roots in the wake of the Nobel prize. This is illustrated by the intriguing circumstances that led to the production of Brunello Rondi\u2019s 1982 Italian biopic La Voce: Infanzia e giovinezza di Madre Teresa di Calcutta, \u2018The Voice: The Childhood and Youth of Mother Teresa of Calcutta\u2019. This is the first time that the Yugoslav intervention in the film\u2019s production is made public.<\/p>\n

Towards the end of 1979, Radiotelevisione italiana, RAI, Italy\u2019s national public broadcasting company, approached Chiara Film Studio regarding the production of a film about Mother Teresa\u2019s early years in Skopje. The project was the brainchild of Albanian-born Gjon Kolndrekaj from Kosova who, at that time, was a television director with the broadcaster.4<\/sup><\/p>\n

This was the first serious attempt to record the story of Mother Teresa\u2019s family and her early years in Skopje. Kolndrekaj, who knew Mother Teresa personally and was in contact with her from 1977 to 1996, co-wrote the script with Rondi and Tullio Pinelli, following interviews with her and her brother, Lazar, during a number of meetings in Rome.<\/p>\n

Kolndrekaj also consulted a number of scholars, clerics, and artists from Kosova, Macedonia and beyond, who knew Mother Teresa and her family in Skopje, or were in contact with her during the time the project was taking shape.5<\/sup><\/p>\n

Together with Rondi and the Italian producer Oscar Brazzi, Kolndrekaj visited a number of places in Kosova and Macedonia in November and December 1979 to identify the locations for the film. By then, he had also put together a renowned international cast.<\/p>\n

Mother Teresa\u2019s role as a child was offered to the Italian actress Liliana Tari, while her young mother\u2019s part went to Marisa Belli, also an Italian. Two-time Academy Award-winner English actress Glenda Jackson was happy to be cast as Mother Teresa in a number of scenes showing the nun at work in India up until the award of the 1979 Nobel Prize. Two other world-famous stars, Greek-born Irene Papas and Albanian-born Bekim Fehmiu, agreed to play Gonxhe\u2019s parents Nikoll\u00eb and Drane who is also known as Roza. Stelvio Cipriani was approached to compose the music.<\/p>\n

With everything in place, it was agreed that filming would commence in December 1980.6<\/sup><\/p>\n

The start date was proposed by Kolndrekaj who was keen to first complete Happy Circus, a 60-part programme he was producing at that time for Rai Uno, RAI\u2019s flagship television channel. The Italian team started shooting without Kolndrekaj in November 1980. The main reason for this was the deal Brazzi had secured for the project with three Yugoslav film studios: Avala Film in Serbia, Croatian Jadran Film, and the Skopje-based Vardar Film.<\/p>\n

The support offered by the Yugoslav film industry for the Mother Teresa film was too good to turn down. Its downside was that the deal came with a number of strings attached.<\/p>\n

Brazzi agreed readily to the conditions set out by the Yugoslavs. He did not inform Kolndrekaj of the deal when the shooting began or during the editing process. When the project was finally completed, Kolndrekaj arranged in Rome a private viewing of the final film with some of the people who had advised him during the scriptwriting stage. It was by then that he became aware, for the first time, of the full extent of the changes requested by the Yugoslav backers. Such alterations had affected significantly the original arrangements regarding locations, costumes, and the plot.<\/p>\n

In one scene, for instance, little Gonxhe is shown to be in a state of deep concentration in a house of worship. At the recommendation of the Serbian and Macedonian Slav consultants, Rondi shot the scene not in a Roman Catholic Church, as originally planned, but at the Eastern Orthodox Monastery of Saint Naum in Ohrid, south-west Macedonia. The new setting was chosen to present Mother Teresa as an Orthodox and not a Roman Catholic.<\/p>\n

The second major deviation from the original plan concerned the outfits of the characters. The members of the Bojaxhiu family were dressed in Serbian and Slavic Macedonian folk costumes. This misrepresentation was introduced to present Mother Teresa and her family and relatives not as ethnic Albanians but as Slavs.<\/p>\n

The third important alteration related to the Bojaxhius\u2019 attitude towards the Albanian national cause. Contrary to what was written before the shooting had started, the film claims that Gonxhe\u2019s ancestors had been fighting only against the Ottomans. To \u2018substantiate\u2019 this claim, Rondi had added another character, Mother Teresa\u2019s paternal grandfather Laz\u00ebr Bojaxhiu. The patriarch was portrayed as a wealthy man who was keen to finance the resistance against the Ottomans.<\/p>\n

Like their fellow Albanians in Kosova, the Bojaxhius had for generations opposed the Ottoman rule. However, by the time Gonxhe and her elder siblings were born, her father, Nikoll\u00eb \u2013 along with other countrymen in the Vilayet of Kosova, irrespective of their religious affiliations \u2013 was equally opposed to the atrocities perpetrated by the Slavs against the Albanian population and their plans to annex Albanian territories.<\/p>\n

Unhappy with the changes to the original script, Kolndrekaj informed Brazzi and Rai Uno that he no longer wished to be associated with the project. He was not prepared to break the promise he had given to Mother Teresa that the biopic would be true to life.<\/p>\n

Kolndrekaj\u2019s principled attitude was supported also by the people who had advised him during the script-writing stage. They all agreed that the film amounted to a deliberate attempt on the part of the Yugoslav circles, that had supported the project, to misrepresent Mother Teresa\u2019s ethno-religious roots and the nature of the Bojaxhius\u2019 attachment to the Albanian national cause. Under these circumstances, Kolndrekaj and his team concluded that the finished film was not fit to be shown on television, not only in Italy and Yugoslavia but also in any other country, as it amounted to an intentional perversion of truth. Kolndrekaj conveyed his concerns about the film to Mother Teresa without delay. The nun told him not to worry about it, adding: \u2018God will do something about this injustice<\/em>\u2019.<\/p>\n

The influential nun apparently did not leave this issue only in the hands of God.<\/p>\n

As a result of her intervention the film was not screened, as planned, on Rai Uno in March 1981. Nor was it shown by any other television station in Italy, Croatia, Serbia, and Macedonia for as long as she was alive. This \u2018embargo\u2019 was broken for the first time by Rai Uno only on 6 September 1997 at 3.40 am. By then, Mother Teresa had been dead for about eight hours.<\/p>\n

Dr. G\u00ebzim Alpion is a sociologist at the University of Birmingham, UK. He received a PhD from the University of Durham, UK, in 1997. His main publications include Mother Teresa Saint or Celebrity? (Routledge 2007), If Only the Dead Could Listen (Globic Press 2008), Encounters with Civilizations: From Alexander the Great to Mother Teresa (Routledge 2017), and Mother Teresa: The Saint and Her Nation (Bloomsbury Academic 2020). Alpion is considered the \u2018most authoritative English-language author\u2019 on St Teresa of Calcutta and \u2018the founder of Mother Teresa Studies\u2019.<\/p><\/blockquote>\n

\n

1. Eileen Egan. 1986. Such a Vision of the Street: Mother Teresa \u2013 The Spirit and the Work. New York: Doubleday, p. 413.<\/em><\/p>\n

2. For information on Mother Teresa\u2019s growing international fame from the 1960s onwards see G\u00ebzim Alpion. 2006. \u2018Media and celebrity culture: subjectivist, structuralist and post-structuralist approaches to Mother Teresa\u2019s celebrity status\u2019. Continuum: Journal of Media & Cultural Studies, 20 (4): 541-557; and G\u00ebzim Alpion. 2020. \u2018Why are modern spiritual icons absent in celebrity studies? The role of intermediaries in enhancing Mother Teresa\u2019s advocacy in India and Australia prior to the 1979 Nobel Peace Prize\u2019. Celebrity Studies, 11 (2): 221-236.<\/em><\/p>\n

3. For information on efforts to deny Mother Teresa\u2019s Albanian ethnicity and present her as a Serb, Croat, Slav Macedonian Slav, Vlach, and an <\/em>Italian see G\u00ebzim Alpion. 2004. \u2018Media, ethnicity and patriotism: The Balkans \u2018unholy war\u2019 for the appropriation of Mother Teresa\u2019. Journal of Southern Europe and the Balkans (now Journal of Balkan and Near Eastern Studies), 6 (3): 227-243; G\u00ebzim Alpion. 2007. Mother Teresa: Saint or Celebrity? London and New York: Routledge; and G\u00ebzim Alpion. 2020. Mother Teresa: The Saint and Her Nation. New Delhi, London, Oxford, New York, and Sydney: Bloomsbury Academic.<\/em><\/p>\n

4. G\u00ebzim Alpion exchanged views with Gjon Kolndrekaj about this film and other aspects of Mother Teresa\u2019s life and work in meetings in Rome, <\/em>and through telephone conversations and emails exchanged during the 2008-2020 period.<\/em><\/p>\n

5. These are some of the people Gjon Kolndrekaj consulted in Kosova, Macedonia and Italy as he was writing the script of the film La Voce: <\/em>Lorenc Antoni, Anton \u00c7eta, Father Lush Gjergji, Father Gjergj Gjergji, Father Eleuterio Francesco Fortino and Albert Akshija.<\/em><\/p>\n

6. Rilindja. 1980. \u2018Xhirohet filmi mbi N\u00ebn\u00ebn Tereze\u2019. Rilindja, Prishtin\u00eb, 25 October.<\/em><\/p>\n

Source<\/strong>:
\nhttp:\/\/www.fipresci-india.online\/wp-content\/uploads\/2020\/09\/33.-Gezim-Alpion-Mother-Teresa.pdf<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Ekstrakt G\u00ebzim Alpion – p\u00ebrktheu nga anglishtja, Arben \u00c7okaj Ky \u00ebsht\u00eb nj\u00eb fragment nga libri i fundit i G\u00ebzim Alpion “N\u00ebn\u00eb Tereza: Shenjtorja dhe kombi i saj”, botuar m\u00eb 31 korrik 2020 nga Bloomsbury Academic n\u00eb New Delhi, London, Oxford, New York dhe Sydney; 320 faqe, ISBN: HB: 978-93-89165-04-3; Libri elektronik: 978-93-89165-06-7; Bloomsbury.com\/. 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