Problemi i konfliktit trup/mendje ndodhet ne baze te konfliktit mashkull/femer, dhe eshte me i pare dhe me paresor se ky i fundit. Ta do mendja qe individe konflituale me vetveten, ne menyre fatale do te kene raporte konflituale me seksin tjeter.
E tere letersia dhe arti ne pergjithsi, edhe ajo klasike, i deshmon ne meyra te ndryshme dhe ne stile te ndryshme keto 2 konflikte, arti modern deshmon permasat e skajme dhe te frikeshme qe keto dy konflikte marrin ne epoken moderne. Konfliktin e pare, konfliktin tragjik mendje-trup, e ka formuluar ne menyre konçize shen Pjetri ne paragrafin e famshem, dmth Felini dhe Antonioni e kan gjet taze qe te vegjel nga gjyshja e tyre kur i çonte perdore te djelen ne kishe (edhe Marksi, me teorine e alienimit ka zbuluar ujet e ngrohte). Arti i Felinit shpreh me teper ne konfliktin e pare, ndersa i Antonioni konfliktin e dyte (qe e ka te parin brenda), dhe kjo perben superioritetin e Antonionit. Kjo del me pak a shume edhe ne komentin e dyte te personit jutubor qe kam sjelle me siper ne videon ku Felini flet per Antonionin:
Fellini failed to grasp the depth of the human being, which can only come out in inter-human relations. Fellini’s films are monologues - nostalgic, ironic, narcissistic, always solipsistic- by men (they’re always men) who can only reconcile with the world by transforming it into a circus populated by grotesques figures - half-tragic and half-tender. Antonioni, by contrast, goes deep deep inside human relations between real human beings, more often than not relations that don’t work, but he shows you why they don’t work even if he never tells you that explicitly. It’s not by chance that Antonioni focuses so much on women, as you can’t talk of human relationships if you don’t talk about women as much as men. He truly sees women as full human beings, his glance is curious, deep and with no grain of chauvinism or paternalism. He’s ruthless in showing humans as they are, and warm in passing on the message that this is not how things are by nature, but because depression and other ills of the mind depend on a lack of affection, fantasy and creativity. Antonioni is not easy on the viewer because his films stimulate the viewer to engage, they challenge him/her to go beyond entertainment. Fellini is like a fantastic magician who enchants is with his wonderful tricks - but tricks they are. Antonioni tells the viewer: if you connect with the human story I’m telling, it’s because you see a beauty in humans and think that you can be better, warmer, freer than my characters usually are. Fellini says: life is an illusion, let’s have some fun and die partying, sweet on the surface but heavy and empty on the inside.
Per ka edhe nje konflikt te trete dhe te fundit, te njeriut me boten qe e rrethon, me krijimin. Njeriu ndjehet i huaj ne nje bote ku edhe sendet i duken armike (te 3 konfliktet jane pasoje e Renies, mitologjia dhe arti helen e deshmon kete me aktin e Prometeut). Ne epoken moderne ky konflikt merr permasa apokaliptike, problemi ekologjik dora vete. Ne kete rast gjenia e Antonionit del e plote me “Deserto rosso”, eshte i pari regjizor ne menyre absolute qe pershkruan koshiencen ekologjike, tmerrin nga ambjenti rrethues qe ne epoken industriale merr permasa apokaliptike.
Nuk e di se si i shifni filmat dhe i lexoni veprat, siç duket me bythe, koha e saj eshte.
skena finale e filmit:
