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Integral Cinematic Analysis


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Integral Cinematic Analysis: Mapping the Multiple Dimensions of the Cinema and the Co-Evolution of Cinema, Consciousness, Culture, and Society

Paper Presentation
By Mark Allan Kaplan, Ph.D.
Integral Theory Conference 2013
Winner of the Complex Thought Engagement Award

ABSTRACT: This article provides an introduction to the application of integral and transdisciplinary approaches to cinematic media theoretical analysis, using the theories and works of Jean Gebser, Edgar Morin, and Ken Wilber to potentially integrate the major cinematic theoretical and analytical approaches into a comprehensive meta-approach covering the objective, subjective, intersubjective, and interobjective dimensions of the cinematic arts. Specific integrally informed lenses of cinematic analysis are also introduced as part of this meta-approach, based on Geber’s perspectival structures, Morin’s cinematic complexity, and Wilber’s Integral framework. Potential benefits for this meta-approach are presented, including a deeper and more expansive understanding of the complex interrelatedness of the experience, form, language, and context of cinematic works, collective works of individual cinematic artists, genres and styles, collective movements within the medium, along with the evolution of the cinematic medium itself and its relationship with the evolution of individual and collective consciousness, culture, and society.

Published as a journal article in the Journal of Integral Theory and Practice, 2013, Volume 8, Number 3&4, Pages 255-276.
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Integral Cinematic Analysis

  1. 1. Integral Cinematic Analysis Mapping the Multiple Dimensions of the Cinema and the Co-Evolution of Cinema, Consciousness, Culture, and Society Mark Allan Kaplan, Ph.D. Winner of the Complex Thought Engagement Award Integral Theory Conference 2013
  2. 2. Presentation Overview Putting it all Together into a Model for Integral Cinematic Analysis Integrally-Informed Approaches for Cinematic Analysis An Integral Mapping of Major Film and Media Theoretical Approaches
  3. 3. Defining Cinematic Analysis The Study of the Moving (Kinetic) Image in all its Evolving Forms • Movies, Television, Home Video, Video Games, Online Video, Mobile Video, Digital Cinema.
  4. 4. AN INTEGRAL MAPPING OF MAJOR FILM AND MEDIA ANALYTICAL APPROACHES Historical, Theoretical, and Critical Approaches
  5. 5. Mapping the Four Analytical Domains of Cinematic Media
  6. 6. The Cinematic Experience Analyses of the 1st-Person domain of the cinematic experience of both creators and viewers • Phenomenological, Psychoa nalytical, Cognitive, Auteur, and Reception Theory From Clockwork Orange (1971)
  7. 7. The Cinematic Form Examinations of the 3rd-Person dimensions of the material forms and properties of the medium and their effects • Formalist and Realist Russian Filmmaker/Theorist Sergei Eisenstein
  8. 8. The Language of Cinema From Psycho (1960) Explorations of the 2nd-Person realm of the language or communicative aspects of individual and collective cinematic works • Hermeneutic, Semiotic, Stru cturalist, and Genre Studies
  9. 9. The Milieu of Cinema From All Quiet on the Western Front (1929) Considerations of the 3rd-Person Plural aspects of the social and environmental milieu or contexts of individual and collective cinematic works and the medium itself • Ideological, Apparatus, Femi nist, Marxist, and Social Penetration Theory
  10. 10. Mapping the Inside and Outside of the Four Analytical Domains of Cinematic Media
  11. 11. The Eight Analytical Zones of Cinematic Media QUADRANTS ZONES INSIDE/OUTSIDE ANALYTICAL APPROACHES Upper Left (UL) Quadrant Subjective/ 1st Person Zone 1 UL/Inside Phenomenological; Phenomenological Aesthetics Zone 2 UL/Outside Psychoanalytical; Cognitive; Auteur; Reception Theory Lower Left (LL) Quadrant Intersubjective/ 2nd Person Zone 3 LL/Inside Hermeneutic; Philosophy of Language Zone 4 LL/Outside Semiotic; Structuralist; Genre Studies; Cultural Studies Upper Right (UR) Quadrant Objective/ 3rd Person Zone 5 UR/Inside Formalist; Filmic Expression Zone 6 UR/Outside Realist; Neo-Realist Lower Right (LR) Quadrant Interobjective/ 3rd Person Plural Zone 7 LR/Inside Ideological; Feminist; Marxist; Social Penetration Zone 8 LR/Outside Apparatus; Screen Theory; Intermediality; Media Archeology
  13. 13. Integral Cinematic Analytical Approaches Integral Methodological Pluralism (IMP) Approach All-Quadrant-All-Level (AQAL) Approach Aperspectival-Altitudinal Approach Complexity Approach
  14. 14. Integral Methodological Pluralism (IMP) Analytical Approach Integrating the Major Analytical Domains into a Tetra-Analytical Meta-Approach
  15. 15. All-Quadrant-All-Level (AQAL) Analytical Approach Subject/ Object of Analysis Holonic Lens Quadratic Lens Developmental Lens States Lens Typology Lens Zonal Lens
  16. 16. ACT SEQUENCE SCENE SHOT FRAME The Holonic Lens
  17. 17. The Quadratic Lens
  18. 18. The Developmental Lens
  19. 19. The States Lens • Cinematic Temporal States (Slow Motion, Fast Motion, etc.) • Editorial Rhythm States (Montage, Jump Cuts, etc.) • Auditory States (Harmony, Dissonance, Si lence, etc.) • Musical Arousal States (Love, Fear, Danger, etc.) • Visual Expression States (Contrast/Affinity, etc.) • Visual Object States (Object Movement, etc.) • Camera States (Camera Movement, etc.) • Character Emotional States (Joy, Sadness, etc.) • Character Relationship States (Attraction, Aversion, e tc.) • Narrative Event States (Suspense, Ambiguity, etc.) TEXTUAL STATES VISUAL STATES TEMPORAL STATES AUDITORY STATES
  20. 20. The Typology Lens • Temporal Progression Types (Linear Time, Nonlinear Time, Flashbacks, etc.) • Temporal Setting Types (Historical, Present Day, Future, etc.). • Sound Types (Sound Effects, Dialogue, etc.) • Music Types (Classical, Jazz, Atmosph eric, etc.), • Sound Effect Types (Natural, Human, etc.) • Shot Types (Close- Up, Long Shot, etc.), • Visual Expressive Element Types (Space, Shape, Color, Ligh t, etc.), • Screen Format Types (Wide Screen, Full Screen, IMAX, etc.), • Character Types (Protagonist, Antagonis t, etc.) • Story Plot Types (Arch- Plot, Mini-Plot, Anti- Plot, etc.). TEXTUAL TYPES VISUAL TYPES TEMPORAL TYPES AUDITORY TYPES
  21. 21. The Zonal Lens
  22. 22. The Zonal Lens Zones/Subzones Subjective Intersubjective Objective Interobjective 1 Textual Signification Character Subtext Relational Subtext Story Event Subtext Story Subtext 2 Textual Structure Character Character Interactions Story Events Story Structures 3 Auditory Signification Auditory Character Signification Auditory Relationship Signification Auditory Object Signification Auditory Atmospheric Signification 4 Auditory Structure Music/ POV Sounds Dialogue Sound Effects Background Sounds 5 Visual Signification Visual Character Signification Visual Relationship Signification Visual Object Signification Visual Field Signification 6 Visual Structure Close-Up/ POV Shots Medium Shot Close-Up/ Insert Shots Wide Shot 7 Temporal Signification Subjective Temporal Signification Relational Temporal Signification Objective Temporal Signification Accumulated Meaning Patterns 8 Temporal Structure Subjective Time Shared Time Real Time Historical Time
  23. 23. Aperspectival-Altitudinal Analytical Approach Subject/ Object of Analysis Transpersonal/ Indigo-Clear Light Integral/Teal- Turquoise Pluralistic/Green Rational/Orange Mythic/Amber Magical/Red Archaic/Magenta Levels within the Worldview Line of Development
  24. 24. Worldview/ Altitude Circle of Care and Concern Field of Spatial-Temporal Perception Techno-Economic Structures Subjective/ Objective Emphasis Modes of Expression Transpersonal/ Indigo-Clear Light Trans-Egoic Trans-Perspectival/ Trans-Temporal (Space- Free/ Time-Free) Trans-Tech (Trans- Human)/ Cybernetic Organisms Trans-Subjective/ Objective Transcendental Integral/ Teal-Turquoise Kosmocentric Aperspectival/ Evolutionary (Qualified Space/ Qualified Temporality) Convergence/ Holistic Meshworks Integrative Concretion/ Conscious World Integrative Pluralistic/ Green Worldcentric Multi-Perspectival/ Non- Linear (Relative Space/ Relative Temporality) Informational/ Value Communities Deconstructive Concretion/ Time Related World Deconstructive Rational/ Orange Sociocentric Perspectival/ Linear Temporality (Concrete Spatial/ Abstractly Temporal) Industrial/ Corporate States Abstraction/ Space Related World Realist Mythic/ Amber Ethnocentric Bi-Perspectival/ Linear Temporality (Limited Space/ Natural Temporality) Agrarian/ Nation States Imagination/ Soul-Psyche Related World Iconic/ Imaginal Magical/ Red Egocentric Uni-Perspectival/ Cyclical Temporality (Spaceless/ Timeless) Horticultural/ Tribal Emotion/Natural World Emotive Archaic/ Magenta Pre-Egoic Pre-Perspectival/ Pre-Temporal Foraging/ Nomadic Latent Interiority/ Undifferentiated World Primal/ Sensory-Motor Levels and Lines of Development Associated with the Embedding of Cinematic Altitudinal and Perspectival Structures
  25. 25. Complexity Analytical Approach The Complex Circuit of Cinematic Subjective-Objective Transmutation
  26. 26. Mapping the Levels of Participation and Immersion
  27. 27. Mapping the Cinematic Symbiotic-Metamorphic Tetra- Evolutionary Complex
  28. 28. Archives of the Soul By means of the [cinematic] machine, in their own likeness, our dreams are projected and objectified. They are industrially fabricated, collectively shared. They come back upon our waking life to mold it, to teach us how to live or not to live. We reabsorb them, socialized, useful, or else they lose themselves in us, we lose ourselves in them. There they are stored ectoplasms, astral bodies that feed off our persons and feed us, archives of soul. - Edgar Morin (2005a, p.218) Archives of the Soul
  30. 30. Integrally-Informed Lenses of Cinematic Analysis Subject/ Object of Analysis IMP Lens AQAL Lens Complexity Lens Aperspectival- Altitudinal Lens
  31. 31. Integral Cinematic Analysis Mapping the Multiple Dimensions of the Cinema and the Co-Evolution of Cinema, Consciousness, Culture, and Society 2013 Integral Theory Conference Presentation Paper By Mark Allan Kaplan, Ph.D. Download the Complete Journal Article of this Work at: