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Toward an Integral Cinema

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Title: Towards an Integral Cinema: The Application of Integral Theory to Cinematic Media Theory and Practice

2010 Integral Theory Conference
Paper and Presentation
July 30, 2010

Presented By Mark Allan Kaplan, Ph.D.

ABSTRACT: This presentation will provide an introduction to the application of Integral Theory to cinematic media theory and practice. An integral historical and theoretical analysis of Germaine Dulac’s “integral cinema movement” of the 1920s will be presented, suggesting an early introduction of integral consciousness into cinematic media that corresponds to and predates both Jean Gebser’s and Ken Wilber’s Integral Theories. The application of Integral Theory to cinematic media will be set within the context of the integral movement, and defining characteristics and evaluation criteria of what may constitute an integral cinematic work will be introduced using the theories and works of Dulac, Gebser, and Wilber. A summary of the testing of these evaluation criteria with the viewing of several motion pictures will be presented, suggesting that several past and recent films demonstrate qualities that could be said to constitute an integral cinematic work. An integral analysis of the cinematic creation process and the nature of the cinematic medium will be presented, along with a preliminary typology of forms of Integral Cinematic Creation. The potential benefits and challenges for the application of integral consciousness and Integral Theory to cinematic theory and practice will be discussed, and an integral analysis of the current state of cinematic media will be presented, suggesting that Integral Theory is the natural application for this moment in the evolution of the cinema.

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Toward an Integral Cinema

  1. 1. Towards an Integral CinemaThe Application of Integral Theory toCinematic Media Theory and PracticeMark Allan Kaplan, Ph.D.Presented at Integral Theory Conference 2010
  2. 2. Presentation OverviewQuestions and AnswersScreening ExperienceDidactical PresentationIntegral Cinema Historical andTheoretical AnalysisDefining Characteristics of anIntegral Cinematic WorkIntegral Dimensions of CinematicExpressionForms of Integral CinematicCreationPotential Benefits of an IntegralCinema
  3. 3. INTEGRAL CINEMA HISTORICALAND THEORETICAL ANALYSISDulac, Gebser, and Wilber
  4. 4. Germaine Dulac (1882-1942)Integral Cinema• The use of theinherent language ofthe cinema tocapture and expressthe interior andexterior life of boththe individual andthe collective.
  5. 5. Inherent Language of the CinemaVisualMeaningVisualObjectVisualStructureVisualContext
  6. 6. The Seashell and the Clergyman (1926)(La Coquille et le Clergyman)Germaine Dulac’s abstract surrealist visual-poetic exploration of individual andcollective repression, obsession, and transformation may very well be the veryfirst Integral cinematic work.
  7. 7. Jean Gebser (1905-1973)IntegralArt/CinemaAperspectivalism•Concretion ofTime•Concretion ofInteriority
  8. 8. Concretion of TimeSunrise ClergymanWoman General SunsetFrom The Seashell and the Clergyman (1926)
  9. 9. Concretion of InteriorityFrom The Seashell and the Clergyman (1926)
  10. 10. Ken Wilber (1949--)Integral-AperspectivalCinematic Vision• Multiple Perspectives• Multiple PerspectivalMeaning and Value• Perspectival Holarchy
  11. 11. Cinematic Quadrants/QuadriviaFrom The Seashell and the Clergyman (1926)
  12. 12. Egocentric EthnocentricWorldcentric KosmocentricCinematic Levels/LinesFrom The Seashell and the Clergyman (1926)
  13. 13. Egocentric ImageryThe Clinging/Grasping Limited/Separate SelfFrom The Seashell and the Clergyman (1926)
  14. 14. Ethnocentric ImageryThe Ballroom of Communal DanceFrom The Seashell and the Clergyman (1926)
  15. 15. Worldcentric ImageryThe Self in the World SphereFrom The Seashell and the Clergyman (1926)
  16. 16. Kosmocentric ImageryDrinking the Kosmic SoupFrom The Seashell and the Clergyman (1926)
  17. 17. Cinematic StatesFrom The Seashell and the Clergyman (1926)
  18. 18. Cinematic TypesMasculine and FeminineSymbolic Transformation fromWoman as an Object of Man’s Desireto the Divine FeminineFrom The Seashell and the Clergyman (1926)
  19. 19. Cinematic WorldviewsMagical Mythic RationalPluralistic IntegralFrom The Seashell and the Clergyman (1926)
  20. 20. Magical Worldview ImageryThe Alchemist At WorkFrom The Seashell and the Clergyman (1926)
  21. 21. Mythic WorldviewThe King and Queen RuleFrom The Seashell and the Clergyman (1926)
  22. 22. Rational Worldview ImageryThe Chessboard of LifeFrom The Seashell and the Clergyman (1926)
  23. 23. Pluralistic Worldview ImageryThe Union of ViewsFrom The Seashell and the Clergyman (1926)
  24. 24. Integral Worldview ImageryThe Integration of all DimensionsFrom The Seashell and the Clergyman (1926)
  25. 25. DEFINING CHARACTERISTICS OF ANINTEGRAL CINEMATIC WORKIntegral Cinematic Aperspectivalism
  26. 26. Integral Cinematic Aperspectivalism (ICAP)1. Multiple Perspectives2. Multiple Perspectival Meaning and Value3. Perspectival Holarchy4. Concretion of Time5. Concretion of Interiority6. Cinematic Language Integration
  27. 27. Basic Integral CinematicAperspectivalism Test (BICAT) ResultsThe Fountain (6/6) Groundhog Day(6/6)I Heart Huckabees(6/6)The Matrix Trilogy(6/6)The Seashell and theClergyman (6/6)Rashomon (5/6)
  28. 28. BICAT Additional ResultsExpanded Awareness Viewing ExperienceHolarchical Character DevelopmentCharacter Evolution Conflict ResolutionDeath as Transformational ExperienceIntegrally-Related Thematic PatternsCinematic Content/Expression Integration
  29. 29. INTEGRAL DIMENSIONS OF CINEMATICEXPRESSIONCinematic Content/Expression Integration
  30. 30. The 4 Dimensions of Cinematic Expressionand Constructed Cinematic Reality (CCR)Text ImageSound Time
  31. 31. Synchronization of the SensesText ImageSound TimeContentStructureFormStyle
  32. 32. Cinematic Worldview EmbeddingTheCinematicWorkTheCinematicArtist(s)Worldview(s)ContentStructureFormStyle
  33. 33. FORMS OF INTEGRAL CINEMATICCREATIONIntegral Cinematic Creation Typology
  34. 34. The 4 Dimensions of Cinematic CreationTheCinematicCreatorTheCinematicWorkCinematicCreationCultureCinematicCreationProcess
  35. 35. Integral Cinematic Creation TypologyComprehensive Integral Cinema (CIC)Integrally-Shared Cinema (ISC)Integrally-Created Cinema (ICC)Integrally-Designed Cinema (IDC)Integrally-Informed Cinema (IIC)
  36. 36. POTENTIAL BENEFITS OF ANINTEGRAL CINEMATheory, Development, Production, and Distribution
  37. 37. Potential Benefits• The fostering of a greater understanding of the cinematic medium itself• Integrating the truths of the many different cinematic theoriesTheory• The creation of more powerful and effective cinematic realities that couldpotentially induce transformative states of consciousness and stimulateshifts in stages of human development and the evolution of consciousnessDevelopment• The capacity to establish more creatively fulfilling, healthy, efficient, andcost-effective production workflowsProduction• An increased ability to target and reach desired audiences• An enhanced aptitude for comprehending and navigating the rapidlyevolving and convergent cinematic media environmentDistribution
  38. 38. The 4 Dimensions of Cinematic AnalysisTheCinematicExperience(Intention-Reception)TheCinematicWork(Form)TheLanguage ofCinema(Structure)The Milieuof Cinema(Context)
  39. 39. INTEGRAL SCREENING EXPERIENCEAvailable for Viewing at: http://www.ubu.com/film/dulac_coquille.html
  40. 40. Towards an Integral CinemaThe Application of Integral Theory toCinematic Media Theory and Practice2010 Integral Theory ConferencePaper and PresentationBy Mark Allan Kaplan, Ph.D.Download the Complete Journal Article of this Work at:http://integrallife.com/integral-post/toward-integral-cinema

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