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.
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.
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.
Available at: https://foundation.metaintegral.org/products/integral-cinematic-analysis
Incorporating Adolescent Brain Development Research into Youth Programming National Safe Place
This webinar will review adolescent brain development research and provide tips for practical application in youth programming. During the webinar, we will provide an overview of how the teen brain functions and outline ways in which adults can structure opportunities and interactions that will encourage cognitive development, help youth recognize risks and opportunities and minimize factors that inhibit brain development.
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.
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.
Available at: https://foundation.metaintegral.org/products/integral-cinematic-analysis
Incorporating Adolescent Brain Development Research into Youth Programming National Safe Place
This webinar will review adolescent brain development research and provide tips for practical application in youth programming. During the webinar, we will provide an overview of how the teen brain functions and outline ways in which adults can structure opportunities and interactions that will encourage cognitive development, help youth recognize risks and opportunities and minimize factors that inhibit brain development.
Theory of Change Mapping using a Youth Development Example4Good.org
Harvard researcher Carol Weiss advises communities desiring to make mindful social change that there is nothing as practical as good theory. Because change takes time, it’s important to track and document the process by which one aims to initiate and enforce change. Relaying your message of change to the public may sound challenging and difficult, but it can be done! Every community needs a roadmap for success that clearly states assumptions, inputs, outputs, and outcomes. This webinar will use a youth development as one example of how to take an idea and translate it into what is called a “theory of change.”
Bab 8 teori pembangunan. Tugas Mata Kuliah Administrasi Pembangunan. Dosen Pe...rivasardiana
Teori Pembangunan
Mata kuliah : Administrasi Pembangunan
Kelas : B
Dosen Pengampu : Dr. Bambang Kusbandrijo, MS
Dosen FISIP Universitas 17 Agustus 1945 Surabaya
THESIS - WIKANG FILIPINO, SA MAKABAGONG PANAHONMi L
I uploaded this thesis for the reference of the future researchers.
Entitled Wikang Filipino, sa Makabagong Panahon.
We tackled about the progress of Filipino language as time pass by. And the factors that affect it.
Enjoy and God bless! :)
This is the companion slideshow for a public talk and presentation I gave for Bay Area Integral on March 16, 2016 at the Rudramandir Center in Berkeley, California, introducing the application of Integral theory to the moving image in all its evolving forms. Topics include the embedding of structures of consciousness in the moving image; the co-evolution of the moving image, consciousness, culture and society; more fully understanding the power of the medium and how it can be used for transformative and evolutionary purposes; and what is Integral theory and what makes a movie "integral"
Theory of Change Mapping using a Youth Development Example4Good.org
Harvard researcher Carol Weiss advises communities desiring to make mindful social change that there is nothing as practical as good theory. Because change takes time, it’s important to track and document the process by which one aims to initiate and enforce change. Relaying your message of change to the public may sound challenging and difficult, but it can be done! Every community needs a roadmap for success that clearly states assumptions, inputs, outputs, and outcomes. This webinar will use a youth development as one example of how to take an idea and translate it into what is called a “theory of change.”
Bab 8 teori pembangunan. Tugas Mata Kuliah Administrasi Pembangunan. Dosen Pe...rivasardiana
Teori Pembangunan
Mata kuliah : Administrasi Pembangunan
Kelas : B
Dosen Pengampu : Dr. Bambang Kusbandrijo, MS
Dosen FISIP Universitas 17 Agustus 1945 Surabaya
THESIS - WIKANG FILIPINO, SA MAKABAGONG PANAHONMi L
I uploaded this thesis for the reference of the future researchers.
Entitled Wikang Filipino, sa Makabagong Panahon.
We tackled about the progress of Filipino language as time pass by. And the factors that affect it.
Enjoy and God bless! :)
This is the companion slideshow for a public talk and presentation I gave for Bay Area Integral on March 16, 2016 at the Rudramandir Center in Berkeley, California, introducing the application of Integral theory to the moving image in all its evolving forms. Topics include the embedding of structures of consciousness in the moving image; the co-evolution of the moving image, consciousness, culture and society; more fully understanding the power of the medium and how it can be used for transformative and evolutionary purposes; and what is Integral theory and what makes a movie "integral"
Postmodernist cinema, and questions of 'reality'Robert Beshara
This paper will address the representation of various levels of ‘reality’, especially the psychological, in postmodernist cinema, particularly in the work of Jean-Luc Godard. Various theories of realism will be addressed. Reference will be made to dramatic structure, acknowledging art cinema’s debt to theatre, particularly the theories of Aristotle, Artaud, and Brecht. For instance, Godard clearly has been influenced stylistically by some of the tenets of Brecht’s Epic Theatre, such as his emphasis on presentation versus representation. The main argument of the paper is that postmodernist cinema, marked by excessive stylization in its presentation of various levels of reality, in fact manages to capture the ‘real’ in a deeper way than observational cinema and so-called ‘reality TV’
This is the presentation of my talk "Motion Picture, World-Picture, and Surveyable Representation" I gave at the Film-Philosophy-Conference at Lancaster University, July 4-6, 2017.
Young Tom Selleck: A Journey Through His Early Years and Rise to Stardomgreendigital
Introduction
When one thinks of Hollywood legends, Tom Selleck is a name that comes to mind. Known for his charming smile, rugged good looks. and the iconic mustache that has become synonymous with his persona. Tom Selleck has had a prolific career spanning decades. But, the journey of young Tom Selleck, from his early years to becoming a household name. is a story filled with determination, talent, and a touch of luck. This article delves into young Tom Selleck's life, background, early struggles. and pivotal moments that led to his rise in Hollywood.
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Early Life and Background
Family Roots and Childhood
Thomas William Selleck was born in Detroit, Michigan, on January 29, 1945. He was the second of four children in a close-knit family. His father, Robert Dean Selleck, was a real estate investor and executive. while his mother, Martha Selleck, was a homemaker. The Selleck family relocated to Sherman Oaks, California. when Tom was a child, setting the stage for his future in the entertainment industry.
Education and Early Interests
Growing up, young Tom Selleck was an active and athletic child. He attended Grant High School in Van Nuys, California. where he excelled in sports, particularly basketball. His tall and athletic build made him a standout player, and he earned a basketball scholarship to the University of Southern California (U.S.C.). While at U.S.C., Selleck studied business administration. but his interests shifted toward acting.
Discovery of Acting Passion
Tom Selleck's journey into acting was serendipitous. During his time at U.S.C., a drama coach encouraged him to try acting. This nudge led him to join the Hills Playhouse, where he began honing his craft. Transitioning from an aspiring athlete to an actor took time. but young Tom Selleck became drawn to the performance world.
Early Career Struggles
Breaking Into the Industry
The path to stardom was a challenging one for young Tom Selleck. Like many aspiring actors, he faced many rejections and struggled to find steady work. A series of minor roles and guest appearances on television shows marked his early career. In 1965, he debuted on the syndicated show "The Dating Game." which gave him some exposure but did not lead to immediate success.
The Commercial Breakthrough
During the late 1960s and early 1970s, Selleck began appearing in television commercials. His rugged good looks and charismatic presence made him a popular brand choice. He starred in advertisements for Pepsi-Cola, Revlon, and Close-Up toothpaste. These commercials provided financial stability and helped him gain visibility in the industry.
Struggling Actor in Hollywood
Despite his success in commercials. breaking into large acting roles remained a challenge for young Tom Selleck. He auditioned and took on small parts in T.V. shows and movies. Some of his early television appearances included roles in popular series like Lancer, The F.B.I., and Bracken's World. But, it would take a
Panchayat Season 3 - Official Trailer.pdfSuleman Rana
The dearest series "Panchayat" is set to make a victorious return with its third season, and the fervor is discernible. The authority trailer, delivered on May 28, guarantees one more enamoring venture through the country heartland of India.
Jitendra Kumar keeps on sparkling as Abhishek Tripathi, the city-reared engineer who ends up functioning as the secretary of the Panchayat office in the curious town of Phulera. His nuanced depiction of a young fellow exploring the difficulties of country life while endeavoring to adjust to his new environmental factors has earned far and wide recognition.
Neena Gupta and Raghubir Yadav return as Manju Devi and Brij Bhushan Dubey, separately. Their dynamic science and immaculate acting rejuvenate the hardships of town administration. Gupta's depiction of the town Pradhan with an ever-evolving outlook, matched with Yadav's carefully prepared exhibition, adds profundity and credibility to the story.
New Difficulties and Experiences
The trailer indicates new difficulties anticipating the characters, as Abhishek keeps on wrestling with his part in the town and his yearnings for a superior future. The series has reliably offset humor with social editorial, and Season 3 looks ready to dig much more profound into the intricacies of rustic organization and self-awareness.
Watchers can hope to see a greater amount of the enchanting and particular residents who have become fan top picks. Their connections and the one of a kind cut of-life situations give a reviving and interesting portrayal of provincial India, featuring the two its appeal and its difficulties.
A Mix of Humor and Heart
One of the signs of "Panchayat" is its capacity to mix humor with sincere narrating. The trailer features minutes that guarantee to convey giggles, as well as scenes that pull at the heartstrings. This equilibrium has been a critical calculate the show's prosperity, resounding with crowds across different socioeconomics.
Creation Greatness
The creation quality remaining parts first rate, with the beautiful setting of Phulera town filling in as a scenery that upgrades the narrating. The meticulousness in portraying provincial life, joined with sharp composition and solid exhibitions, guarantees that "Panchayat" keeps on hanging out in the packed web series scene.
Expectation and Delivery
As the delivery date draws near, expectation for "Panchayat" Season 3 is at a record-breaking high. The authority trailer has previously created critical buzz, with fans enthusiastically anticipating the continuation of Abhishek Tripathi's excursion and the new undertakings that lie ahead in Phulera.
All in all, the authority trailer for "Panchayat" Season 3 recommends that watchers are in for another drawing in and engaging ride. Yet again with its charming characters, convincing story, and ideal mix of humor and show, the new season is set to enamor crowds. Write in your schedules and prepare to get back to the endearing universe of "Panchayat."
Meet Crazyjamjam - A TikTok Sensation | Blog EternalBlog Eternal
Crazyjamjam, the TikTok star everyone's talking about! Uncover her secrets to success, viral trends, and more in this exclusive feature on Blog Eternal.
Source: https://blogeternal.com/celebrity/crazyjamjam-leaks/
In the vast landscape of cinema, stories have been told, retold, and reimagined in countless ways. At the heart of this narrative evolution lies the concept of a "remake". A successful remake allows us to revisit cherished tales through a fresh lens, often reflecting a different era's perspective or harnessing the power of advanced technology. Yet, the question remains, what makes a remake successful? Today, we will delve deeper into this subject, identifying the key ingredients that contribute to the success of a remake.
Create a Seamless Viewing Experience with Your Own Custom OTT Player.pdfGenny Knight
As the popularity of online streaming continues to rise, the significance of providing outstanding viewing experiences cannot be emphasized enough. Tailored OTT players present a robust solution for service providers aiming to enhance their offerings and engage audiences in a competitive market. Through embracing customization, companies can craft immersive, individualized experiences that effectively hold viewers' attention, entertain them, and encourage repeat usage.
240529_Teleprotection Global Market Report 2024.pdfMadhura TBRC
The teleprotection market size has grown
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to $70.77 billion in 2028 at a compound annual
growth rate (CAGR) of 26.0%.
As a film director, I have always been awestruck by the magic of animation. Animation, a medium once considered solely for the amusement of children, has undergone a significant transformation over the years. Its evolution from a rudimentary form of entertainment to a sophisticated form of storytelling has stirred my creativity and expanded my vision, offering limitless possibilities in the realm of cinematic storytelling.
Meet Dinah Mattingly – Larry Bird’s Partner in Life and Loveget joys
Get an intimate look at Dinah Mattingly’s life alongside NBA icon Larry Bird. From their humble beginnings to their life today, discover the love and partnership that have defined their relationship.
Skeem Saam in June 2024 available on ForumIsaac More
Monday, June 3, 2024 - Episode 241: Sergeant Rathebe nabs a top scammer in Turfloop. Meikie is furious at her uncle's reaction to the truth about Ntswaki.
Tuesday, June 4, 2024 - Episode 242: Babeile uncovers the truth behind Rathebe’s latest actions. Leeto's announcement shocks his employees, and Ntswaki’s ordeal haunts her family.
Wednesday, June 5, 2024 - Episode 243: Rathebe blocks Babeile from investigating further. Melita warns Eunice to stay clear of Mr. Kgomo.
Thursday, June 6, 2024 - Episode 244: Tbose surrenders to the police while an intruder meddles in his affairs. Rathebe's secret mission faces a setback.
Friday, June 7, 2024 - Episode 245: Rathebe’s antics reach Kganyago. Tbose dodges a bullet, but a nightmare looms. Mr. Kgomo accuses Melita of witchcraft.
Monday, June 10, 2024 - Episode 246: Ntswaki struggles on her first day back at school. Babeile is stunned by Rathebe’s romance with Bullet Mabuza.
Tuesday, June 11, 2024 - Episode 247: An unexpected turn halts Rathebe’s investigation. The press discovers Mr. Kgomo’s affair with a young employee.
Wednesday, June 12, 2024 - Episode 248: Rathebe chases a criminal, resorting to gunfire. Turf High is rife with tension and transfer threats.
Thursday, June 13, 2024 - Episode 249: Rathebe traps Kganyago. John warns Toby to stop harassing Ntswaki.
Friday, June 14, 2024 - Episode 250: Babeile is cleared to investigate Rathebe. Melita gains Mr. Kgomo’s trust, and Jacobeth devises a financial solution.
Monday, June 17, 2024 - Episode 251: Rathebe feels the pressure as Babeile closes in. Mr. Kgomo and Eunice clash. Jacobeth risks her safety in pursuit of Kganyago.
Tuesday, June 18, 2024 - Episode 252: Bullet Mabuza retaliates against Jacobeth. Pitsi inadvertently reveals his parents’ plans. Nkosi is shocked by Khwezi’s decision on LJ’s future.
Wednesday, June 19, 2024 - Episode 253: Jacobeth is ensnared in deceit. Evelyn is stressed over Toby’s case, and Letetswe reveals shocking academic results.
Thursday, June 20, 2024 - Episode 254: Elizabeth learns Jacobeth is in Mpumalanga. Kganyago's past is exposed, and Lehasa discovers his son is in KZN.
Friday, June 21, 2024 - Episode 255: Elizabeth confirms Jacobeth’s dubious activities in Mpumalanga. Rathebe lies about her relationship with Bullet, and Jacobeth faces theft accusations.
Monday, June 24, 2024 - Episode 256: Rathebe spies on Kganyago. Lehasa plans to retrieve his son from KZN, fearing what awaits.
Tuesday, June 25, 2024 - Episode 257: MaNtuli fears for Kwaito’s safety in Mpumalanga. Mr. Kgomo and Melita reconcile.
Wednesday, June 26, 2024 - Episode 258: Kganyago makes a bold escape. Elizabeth receives a shocking message from Kwaito. Mrs. Khoza defends her husband against scam accusations.
Thursday, June 27, 2024 - Episode 259: Babeile's skillful arrest changes the game. Tbose and Kwaito face a hostage crisis.
Friday, June 28, 2024 - Episode 260: Two women face the reality of being scammed. Turf is rocked by breaking
From the Editor's Desk: 115th Father's day Celebration - When we see Father's day in Hindu context, Nanda Baba is the most vivid figure which comes to the mind. Nanda Baba who was the foster father of Lord Krishna is known to provide love, care and affection to Lord Krishna and Balarama along with his wife Yashoda; Letter’s to the Editor: Mother's Day - Mother is a precious life for their children. Mother is life breath for her children. Mother's lap is the world happiness whose debt can never be paid.
Experience the thrill of Progressive Puzzle Adventures, like Scavenger Hunt Games and Escape Room Activities combined Solve Treasure Hunt Puzzles online.
Tom Selleck Net Worth: A Comprehensive Analysisgreendigital
Over several decades, Tom Selleck, a name synonymous with charisma. From his iconic role as Thomas Magnum in the television series "Magnum, P.I." to his enduring presence in "Blue Bloods," Selleck has captivated audiences with his versatility and charm. As a result, "Tom Selleck net worth" has become a topic of great interest among fans. and financial enthusiasts alike. This article delves deep into Tom Selleck's wealth, exploring his career, assets, endorsements. and business ventures that contribute to his impressive economic standing.
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Early Life and Career Beginnings
The Foundation of Tom Selleck's Wealth
Born on January 29, 1945, in Detroit, Michigan, Tom Selleck grew up in Sherman Oaks, California. His journey towards building a large net worth began with humble origins. , Selleck pursued a business administration degree at the University of Southern California (USC) on a basketball scholarship. But, his interest shifted towards acting. leading him to study at the Hills Playhouse under Milton Katselas.
Minor roles in television and films marked Selleck's early career. He appeared in commercials and took on small parts in T.V. series such as "The Dating Game" and "Lancer." These initial steps, although modest. laid the groundwork for his future success and the growth of Tom Selleck net worth. Breakthrough with "Magnum, P.I."
The Role that Defined Tom Selleck's Career
Tom Selleck's breakthrough came with the role of Thomas Magnum in the CBS television series "Magnum, P.I." (1980-1988). This role made him a household name and boosted his net worth. The series' popularity resulted in Selleck earning large salaries. leading to financial stability and increased recognition in Hollywood.
"Magnum P.I." garnered high ratings and critical acclaim during its run. Selleck's portrayal of the charming and resourceful private investigator resonated with audiences. making him one of the most beloved television actors of the 1980s. The success of "Magnum P.I." played a pivotal role in shaping Tom Selleck net worth, establishing him as a major star.
Film Career and Diversification
Expanding Tom Selleck's Financial Portfolio
While "Magnum, P.I." was a cornerstone of Selleck's career, he did not limit himself to television. He ventured into films, further enhancing Tom Selleck net worth. His filmography includes notable movies such as "Three Men and a Baby" (1987). which became the highest-grossing film of the year, and its sequel, "Three Men and a Little Lady" (1990). These box office successes contributed to his wealth.
Selleck's versatility allowed him to transition between genres. from comedies like "Mr. Baseball" (1992) to westerns such as "Quigley Down Under" (1990). This diversification showcased his acting range. and provided many income streams, reinforcing Tom Selleck net worth.
Television Resurgence with "Blue Bloods"
Sustaining Wealth through Consistent Success
In 2010, Tom Selleck began starring as Frank Reagan i
Scandal! Teasers June 2024 on etv Forum.co.zaIsaac More
Monday, 3 June 2024
Episode 47
A friend is compelled to expose a manipulative scheme to prevent another from making a grave mistake. In a frantic bid to save Jojo, Phakamile agrees to a meeting that unbeknownst to her, will seal her fate.
Tuesday, 4 June 2024
Episode 48
A mother, with her son's best interests at heart, finds him unready to heed her advice. Motshabi finds herself in an unmanageable situation, sinking fast like in quicksand.
Wednesday, 5 June 2024
Episode 49
A woman fabricates a diabolical lie to cover up an indiscretion. Overwhelmed by guilt, she makes a spontaneous confession that could be devastating to another heart.
Thursday, 6 June 2024
Episode 50
Linda unwittingly discloses damning information. Nhlamulo and Vuvu try to guide their friend towards the right decision.
Friday, 7 June 2024
Episode 51
Jojo's life continues to spiral out of control. Dintle weaves a web of lies to conceal that she is not as successful as everyone believes.
Monday, 10 June 2024
Episode 52
A heated confrontation between lovers leads to a devastating admission of guilt. Dintle's desperation takes a new turn, leaving her with dwindling options.
Tuesday, 11 June 2024
Episode 53
Unable to resort to violence, Taps issues a verbal threat, leaving Mdala unsettled. A sister must explain her life choices to regain her brother's trust.
Wednesday, 12 June 2024
Episode 54
Winnie makes a very troubling discovery. Taps follows through on his threat, leaving a woman reeling. Layla, oblivious to the truth, offers an incentive.
Thursday, 13 June 2024
Episode 55
A nosy relative arrives just in time to thwart a man's fatal decision. Dintle manipulates Khanyi to tug at Mo's heartstrings and get what she wants.
Friday, 14 June 2024
Episode 56
Tlhogi is shocked by Mdala's reaction following the revelation of their indiscretion. Jojo is in disbelief when the punishment for his crime is revealed.
Monday, 17 June 2024
Episode 57
A woman reprimands another to stay in her lane, leading to a damning revelation. A man decides to leave his broken life behind.
Tuesday, 18 June 2024
Episode 58
Nhlamulo learns that due to his actions, his worst fears have come true. Caiphus' extravagant promises to suppliers get him into trouble with Ndu.
Wednesday, 19 June 2024
Episode 59
A woman manages to kill two birds with one stone. Business doom looms over Chillax. A sobering incident makes a woman realize how far she's fallen.
Thursday, 20 June 2024
Episode 60
Taps' offer to help Nhlamulo comes with hidden motives. Caiphus' new ideas for Chillax have MaHilda excited. A blast from the past recognizes Dintle, not for her newfound fame.
Friday, 21 June 2024
Episode 61
Taps is hungry for revenge and finds a rope to hang Mdala with. Chillax's new job opportunity elicits mixed reactions from the public. Roommates' initial meeting starts off on the wrong foot.
Monday, 24 June 2024
Episode 62
Taps seizes new information and recruits someone on the inside. Mary's new job
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From Slave to Scourge: The Existential Choice of Django Unchained. The Philos...Rodney Thomas Jr
#SSAPhilosophy #DjangoUnchained #DjangoFreeman #ExistentialPhilosophy #Freedom #Identity #Justice #Courage #Rebellion #Transformation
Welcome to SSA Philosophy, your ultimate destination for diving deep into the profound philosophies of iconic characters from video games, movies, and TV shows. In this episode, we explore the powerful journey and existential philosophy of Django Freeman from Quentin Tarantino’s masterful film, "Django Unchained," in our video titled, "From Slave to Scourge: The Existential Choice of Django Unchained. The Philosophy of Django Freeman!"
From Slave to Scourge: The Existential Choice of Django Unchained – The Philosophy of Django Freeman!
Join me as we delve into the existential philosophy of Django Freeman, uncovering the profound lessons and timeless wisdom his character offers. Through his story, we find inspiration in the power of choice, the quest for justice, and the courage to defy oppression. Django Freeman’s philosophy is a testament to the human spirit’s unyielding drive for freedom and justice.
Don’t forget to like, comment, and subscribe to SSA Philosophy for more in-depth explorations of the philosophies behind your favorite characters. Hit the notification bell to stay updated on our latest videos. Let’s discover the principles that shape these icons and the profound lessons they offer.
Django Freeman’s story is one of the most compelling narratives of transformation and empowerment in cinema. A former slave turned relentless bounty hunter, Django’s journey is not just a physical liberation but an existential quest for identity, justice, and retribution. This video delves into the core philosophical elements that define Django’s character and the profound choices he makes throughout his journey.
Link to video: https://youtu.be/GszqrXk38qk
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Toward an Integral Cinema
1. Towards an Integral Cinema
The Application of Integral Theory to
Cinematic Media Theory and Practice
Mark Allan Kaplan, Ph.D.
Presented at Integral Theory Conference 2010
2. Presentation Overview
Questions and Answers
Screening Experience
Didactical Presentation
Integral Cinema Historical and
Theoretical Analysis
Defining Characteristics of an
Integral Cinematic Work
Integral Dimensions of Cinematic
Expression
Forms of Integral Cinematic
Creation
Potential Benefits of an Integral
Cinema
4. Germaine Dulac (1882-1942)
Integral Cinema
• The use of the
inherent language of
the cinema to
capture and express
the interior and
exterior life of both
the individual and
the collective.
5. Inherent Language of the Cinema
Visual
Meaning
Visual
Object
Visual
Structure
Visual
Context
6. The Seashell and the Clergyman (1926)
(La Coquille et le Clergyman)
Germaine Dulac’s abstract surrealist visual-poetic exploration of individual and
collective repression, obsession, and transformation may very well be the very
first Integral cinematic work.
18. Cinematic Types
Masculine and Feminine
Symbolic Transformation from
Woman as an Object of Man’s Desire
to the Divine Feminine
From The Seashell and the Clergyman (1926)
26. Integral Cinematic Aperspectivalism (ICAP)
1. Multiple Perspectives
2. Multiple Perspectival Meaning and Value
3. Perspectival Holarchy
4. Concretion of Time
5. Concretion of Interiority
6. Cinematic Language Integration
27. Basic Integral Cinematic
Aperspectivalism Test (BICAT) Results
The Fountain (6/6) Groundhog Day
(6/6)
I Heart Huckabees
(6/6)
The Matrix Trilogy
(6/6)
The Seashell and the
Clergyman (6/6)
Rashomon (5/6)
28. BICAT Additional Results
Expanded Awareness Viewing Experience
Holarchical Character Development
Character Evolution Conflict Resolution
Death as Transformational Experience
Integrally-Related Thematic Patterns
Cinematic Content/Expression Integration
36. POTENTIAL BENEFITS OF AN
INTEGRAL CINEMA
Theory, Development, Production, and Distribution
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 could
potentially induce transformative states of consciousness and stimulate
shifts in stages of human development and the evolution of consciousness
Development
• The capacity to establish more creatively fulfilling, healthy, efficient, and
cost-effective production workflowsProduction
• An increased ability to target and reach desired audiences
• An enhanced aptitude for comprehending and navigating the rapidly
evolving and convergent cinematic media environment
Distribution
38. The 4 Dimensions of Cinematic Analysis
The
Cinematic
Experience
(Intention-
Reception)
The
Cinematic
Work
(Form)
The
Language of
Cinema
(Structure)
The Milieu
of Cinema
(Context)
40. Towards an Integral Cinema
The Application of Integral Theory to
Cinematic Media Theory and Practice
2010 Integral Theory Conference
Paper and Presentation
By Mark Allan Kaplan, Ph.D.
Download the Complete Journal Article of this Work at:
http://integrallife.com/integral-post/toward-integral-cinema
Editor's Notes
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GermaineDulac: French avant-garde filmmaker and theorist; mother of the first avant-garde; first feminist filmmaker; first surrealist filmmaker; coined the term: Integral Cinema. Jean Gebser: Swiss cultural philosopher; discerned states of consciousness in cultures, and discovered the “integral” structure of consciousness. Ken Wilber: American philosopher; created Integral Theory and the AQAL model.
“It isn’t enough to simply capture reality in order to express it in its totality; something else is necessary in order to respect it entirely, to surround it in its atmosphere, and to make its moral meaning perceptible . . .” (Dulac in Flitterman-Lewis, 1996, p.49). The term “integral cinema” was first used by French avant-garde filmmaker Germaine Dulac in the 1920s. Dulac employed this term to describe cinema that utilized the natural inherent language of the cinema to evoke the interior life normally hidden beneath the exterior life of the objective world. This form of cinema was also called “pur cinema” or “visual music,” because of the contention by its adherents that the language of the cinema is a language all its own, more related to music or poetics, than to literature or drama. In order to liberate the cinematic image from literary or dramatic expression “. . . Dulac sought to create for the spectator a ‘cinegraphic sensation’ that could be achieved through the contemplation of pure forms in movement—the melodic arrangement of luminous reflections, the rhythmic ordering of successive shots” (Flitterman-Lewis, 1996, p. 69-70).
IMAGE (UR/Primary Holon):Visual Meaning – Code/Message (UL/Subholon) (MEANING)Visual Object – Signifier Element (UR/Subholon) (WORD)Visual Structure – Signification (LL/Subholon) (GRAMMER)Visual Context – Signifier System (UR/Subholon) (SENTENCE)
The first Surrealist film. One year before “Un ChienAndalou” by Dali and Bunuel. Came out same year as “The Jazz Singer” the first talking picture.Directed by Dulac from a script by AntoninArtaud.Premiered in Paris in 1928.Synopsis: An abstract surrealist visual-poetic exploration of individual and collective repression, obsession, and transformation, which follows an obsessed Clergyman, surrealistically battling with his alter-ego in the form of a General, as they vie for the affections of a beautiful woman, their object of desire
Time is represented as a concrete fourth-dimension, equal to the three dimensions of space;Individual and collective interior dimensions are expressed in perceivable concrete forms, equal to the dimensions of time and space
CONTEMPORARY EXAMPLE: GROUNDHOG DAYDulac’s more comprehensive cinematic works, like her La Coquille et le Clergyman do appear to reflect an integral worldview in that they include aperspectival cinematic structures in which “. . . time is no longer spatialized but integrated and concretized as a fourth dimension” (Gebser, 1985, p.24). Throughout La Coquille,Dulac employs various cinematic techniques, including slow-motion, fast-motion, and image repetition, to create a plastic temporal reality in which time appears to move forward normally, to slow down and speed up, and to jump ahead and jump back. These cinematic temporal rifts also produce spatial rifts, as the characters move through spaces that seem larger or smaller, depending on the time it takes for them to move through these spaces. For Gebser, this type of variable and mutually dependent aperspectival field of visually concretized time and three-dimensional space is an essential quality for any work of art to be considered integral because “. . . the concretion of everything that has unfolded in time and coalesced in a spatial array is the integral attempt to reconstitute the ‘magnitude’ of man from his constituent aspects, so that he can consciously integrate himself with the whole” (Gebser, 1985, p.99).
CONTEMPORARY EXAMPLE: THE MATRIXIn addition to the concretion of time, Gebser also considers the concretion of interiority, or individual and collective interior dimensions, a precondition of the integral structure, because “. . . only the concrete can be integrated, never the merely abstract” (Gebser, 1985, p.99). In La Coquille, Dulac tried to visually concretize individual and collective interiority as well, by attempting to “. . . give concrete, objective form to human thought processes and fantasms” (Flitterman-Lewis, 1996, p.62), putting them on equal footing with the individual and collective dimensions of time and physical space. To achieve this goal, Dulac created a pure visual poetics “. . . through a studied organization of images which evolved their own logic . . . unconstrained by the conventions of narrative coherence” that explores individual and collective repression, obsession, and transformation by following an obsessed Clergyman, surrealistically battling with his alter-ego in the form of a General, as they vie for the affections of a beautiful woman, their object of desire (Flitterman-Lewis, 1996, p.62).
Wilber’s own baseline criteria for discerning if a cinematic work is an Integral expression is if that work reflects an Integral aperspectival vision, defined as: A vision that represents multiple perspectives; includes Dimension-Perspectives , levels, lines, states, types (AQAL) and more specifically Worldviews That all these perspectives have their own meaning and value; And that some perspectives are more inclusive and hence more accurate or valuable than others (greater depth and span).
Nearly seventy years before Wilber first published his Integral Theory (Wilber, 1995), Dulac created a quadratic split-screen climax for her La Coquille et le Clergyman that appears to evocatively depict Wilber’s four quadrants of I, WE, IT, and ITS in their precise configuration (see Figure 2). In this powerful climactic moment, the main character, the Clergyman, seems to have a visual/poetic self-revelation as he finds himself surrounded by four different evolving moving images set within a quadratic split-screen field of vision: A stalactite-covered cave appears in the Upper-Left (UL) subjective (I) quadrant; below the cave, in the Lower-Left (LL) intersubjective (WE) quadrant, the reflection of the cave ripples and multiplies across the surface of the moving waters below; in the Upper-Right (UR) objective (IT) quadrant, we see an island castle; and in the Lower-Right (LR) interobjective (ITS) quadrant, the image of the castle ripples and multiplies in the waters below it.
At the beginning of Dulac’s film, the Clergyman and the General, his alter-ego, seem to begin their cinematic journey stuck at the egocentric level of development, caught in a Freudian Surrealistic battle for the object of their desires, the beautiful woman character. They, along with their self-identity, moral, spiritual, emotional, and psychosexual lines of development are dragged kicking and screaming through a cinematic world that appears to progressively open to ethnocentric (relationship/community), worldcentric (civilization/humanity/world), and Kosmocentric (all sentient life/whole Kosmos) realms; from the images of a dark egocentric cave, to an ethnocentric ballroom of communal dance, to the Clergyman’s head being enshrined in a glowing worldcentric spherical vase, to the final shot of the Clergyman drinking the seashell’s alchemical fluid, which is now a Kosmic soup that includes the shattered pieces of the worldcentric sphere and fragments of his own beingness
The Clergyman begins the journey as a egocentric, clinging and grasping, and limited and separated self
All the characters enter the ethnocentric ballroom of communal dance
The Clergyman’s head being enshrined in a glowing worldcentric spherical vase
The final shot of the Clergyman drinking the seashell’s alchemical fluid, which is now a Kosmic soup that includes the shattered pieces of the worldcentric sphere and fragments of his own beingness
Along the way, this level and line cinematic journey also explores the dimension of states by juxtaposing waking and dream state imagery, and employing an acausal sequencing of images and events, which involves the viewer in constructing their own meaning, which in turn potentially induces a witnessing state of consciousness in the audience member as they are asked to become a “witness” to the content of their cinematic experience. The film also includes a wide range of other cinematic states that rise and fall in rhythmic and arrhythmic patterns, including: Individual character states (i.e.: curiosity, fear, etc.), Interpersonal character states (i.e.: attraction, repulsion, etc.), Cinematic event states (i.e.: suspense, action, etc.), Cinematic image states (i.e.: contrast, affinity, etc.)
Being one of the cinema’s first feminist filmmakers, Dulac also placed a special emphasis on the exploration of masculine and feminine typologies in La Coquille, attempting to cinematically reveal man’s tendency to objectify women and to either aggressively go after their object of desire (the General) or repress their desires entirely (the Clergyman). As the film progresses, the woman also seems to transform from an object of physical desire to an ethereal and illusive representation of the divine feminine. This transformation is beautifully symbolized when an angelic-winged bra appears over the woman’s exposed breasts. This cinematic signification process is representative of Dulac’s overall cinematic exploration for finding “…new forms in which the woman’s body is ‘spoken’ by the cinematic text”. In La Coquille, Dulac’s feminine interpretation of the male authored script by fellow surrealist AntoninArtaud produced such a powerful embedding of masculine and feminine typologies into the film’s cinematic structure that it created a potent cinematic critique of psychic and social gender norms strong enough to induce a riot at the film’s premiere in Paris in 1928
The main character, the Clergyman, also appears to advance from egocentric to Kosmocentric stages of character development within a parallel cinematic evolution of personal and cultural worldviews that can be seen as directly correlating to the Integral model’s spectrum of major worldviews, from Magical to Mythic to Rational to Pluralistic to Integral.Worldviews are prime area for: Wilber’s own baseline criteria for discerning if a cinematic work is an Integral expression is if that work reflects an Integral aperspectival vision, defined as: A vision that represents multiple perspectives; includes Dimension-Perspectives, levels, lines, states, types (AQAL) and more specifically Worldviews That all these perspectives have their own meaning and value; And that some perspectives are more inclusive and hence more accurate or valuable than others (greater depth and span).
The beginning of the film finds the Clergyman alone in a dark alchemical basement/cave laboratory.
The General and the woman become enthroned at the ethnocentric ballroom of communal dance.
The Clergyman enters the rational “chessboard of life” hallway.
The General officiates at the wedding of the Clergyman and the woman, standing next to the worldcentric sphere and surrounded by multiple doorways, and the men and woman who tend the sphere. Multiple classes are represented: Military (General), Clergy (Clergyman), Elite (woman), and servants (maids and butlers).
The Clergyman envisions all dimensions of his world and his journey at the same time.
So how do we define “Integral Cinema?” As noted above, we have several elements already implied, including Wilber’s aperspectival baseline criteria for determining if a cinematic work was created by a cinematic artist(s) at an integral level of consciousness or higher; Gebser’s concretized time-space and interiority aperspectivalism; and Dulac’s example of using the inherent comprehensive language of the cinema to capture and express the interior and exterior life of both the individual and the collective. Together, these elements can give us a preliminary mapping of the defining characteristics, or the underlying patterns and connective tissue, of an Integral cinematic work. These defining characteristics could be said to make up the elements of what I am calling an IntegralCinematic Aperspectivalism(ICAP); the detection of which could potentially offer us a basic way of determining if a cinematic work is the result of an Integrally-informed vision. Next is a preliminary listing of the six elements of this Integral Cinematic Aperspectivalism based on the above theories and examples of Dulac, Gebser, and Wilber.
Representation of multiple perspectives;All perspectives have their own meaning and value; Some perspectives are more inclusive and hence more accurate or valuable than others; Time is represented as a concrete fourth-dimension, equal to the three dimensions of space;Individual and collective interior dimensions are expressed in perceivable concrete forms, equal to the dimensions of time and space; These constituent elements of the integral cinematic aperspectival field are expressed through the inherent comprehensive language of the cinema.
The Fountain (2006); Groundhog Day (1993); I Heart Huckabees (2004); The Matrix Trilogy (1999-2004); La Coquille et le Clergyman (1928) (Passes BICAT)Rashomon (1950) (Does not pass BICAT): Meets only five out of six elements of Integral Cinematic Aperspectivalism; Portrays all perspectives as equal and holds no perspective as more inclusive or more accurate than others.Since Rashomon portrays all perspectives as equal and holds no perspective as more inclusive or more accurate than others, it does not meet the third cinematic aperspectivalism defining characteristic of some perspectives being more inclusive and hence more accurate or valuable than others (Pluralistic aperspectivalism as opposed to Integral aperspectivalism). Wilber notes that this film is a good example of the subtle difference between Pluralistic aperspectivalism and Integral aperspectivalism ISSUE OF QUALITY: It is also important to note that the classification of a cinematic work as possibly being Integral, does not necessarily mean that it is better than other “non-Integral” cinematic works. While an Integral cinematic work may contain a more comprehensive and accurate worldview, its ultimate critical and viewer value is also dependent on its technical and artistic quality, it’s social and cultural contexts, and its ability to translate its Integral vision in a meaningful and powerful way. For example, a Pluralistic film like Rashomon is considered a cinematic masterpiece that many critics would judge as superior to most, if not all of the cinematic works that passed the BICAT. The value of an Integral cinema lies in its potential to go beyond any of the previous boundaries of the medium by giving the cinematic artist(s) a greater awareness of and ability to command the elements involved in the development, production, and distribution of a cinematic work. LIMITATIONS (NO MEASURE OF DEGREE OF INTEGRAL ELEMENT INCLUSION): While each of the six films that passed the BICAT appeared to include all these Integrally-related patterns, any measure of the degree of inclusion for these elements could not be adequately determined due to the limited sample size, and the preliminary and rudimentary nature of this experiment. Further research would most likely reveal a more nuanced spectrum for classifying the degree that an Integral worldview is embedded into any cinematic work, and we may discover that these cinematic works are actually only nearing the level of being a fully Integrally-informed work. The likelihood of a nuanced spectrum of Integral worldview embedding is due to many factors, including the natural progressive and often uneven development of the consciousness of individual cinematic artist(s) and the number of cinematic artists it requires to create a cinematic work
At the end of viewing each of the six films that passed the BICAT, I experienced a sense of expanded awareness of my self and the world around me. This expanded awareness appeared to be cumulative, increasing in depth and span with the viewing of each film; A kind of holarchical character development in which the main character(s) transcend and include ever widening/deepening/more inclusive perspectives as they progress through higher level(s)/stage(s) of development; This pattern of holarchical character development appeared to be equal to or greater than the cinematic works emphasis on conflict resolution; The notion that death can be a transformational experience; The recurrence of various Integrally-related textual, visual, auditory, and/or temporal thematic patterns in addition to the above six defining characteristics of Integral Cinematic Aperspectivalism. These Integrally-related thematic patterns appeared to correspond to one or more of the numerous aspects of Integral Theory, including quadrants, levels, lines, states, types, holons, zones, etc. The Fountain (2006): Levels/Stages of Development, Post-Metaphysics, Transcend and Include; Agency and Communion; Groundhog Day (1993): Levels/Stages of Development of main character, Transcend and Include;I Heart Huckabees (2004): Levels/Stages of Development, Post-Metaphysics, Transcend and Include; Agency and Communion.;The Matrix Trilogy (1999-2004): Quadrants, Levels/Stages, States, Bodies, Transcend and Include;La Coquille et le Clergyman (1928): Quadrants; Levels; Lines; States; Types; Transcend and Include.During the viewing of the above cinematic works that passed the Basic Integral Cinematic Aperspectivalism Test, I also noticed a pronounced integration of aperspectival vision, meaning, value, purpose, and subject matter (content) with cinematic structure, form, and style, 8 across all four cinematic expression dimensions of text, image, sound, and time. The integration of cinematic content with structure, form, and style is the essential process for producing what film theorist Sergei Eisenstein called cinematic synchronization of the senses
This four-dimensional map of the major elements of cinematic expression is a representation of the level of the Constructed Cinematic Reality (CCR) that is projected for the viewer as a world unto itself. From this perspective: The IMAGE tends to be perceived by the viewer as the primary objective dimension (UR). The TEXT tends to be perceived as the invisible interior dimension (UL) that animates and emanates from the observable visual world, giving it its meaning, purpose, value, and emotional context. While some elements of SOUND are directly related to objects and actions in the visual field, the dimension of sound is primarily experienced as an invisible force that extends the invisible interior emotional and meaning dimension of text beyond the screen and into the viewers subjective experiential field, establishing a shared inter-subjective relationship (LL) between the viewers interior and the interior dimensions of the Constructed Cinematic Reality. The dimension of TIME is generally experienced as the observable systemic unfolding (LR) of the Constructed Cinematic Reality SUB-HOLONS FOR EACH DIMENSION:In turn, each of these dimensions can be seen as having within it, it’s own four quadrant aspect; so while time can be placed in the Lower-Right (LR) quadrant, signifying it’s interobjective nature in relation to the whole of the Constructed Cinematic Reality, time also has subjective (UL), intersubjective (LL), and objective (UR) dimensions as it plays itself out within the Constructed Cinematic Reality, as does the dimensions of text, image, and sound. DULAC’S CINEMATIC LANGUAGE IMAGE DIMENSIONS ARE THE IMAGE SUB-HOLONS. TEXT (UL/Primary Holon): Premise/Emotional Arc (UL/Subholon); Outer Character/Inner Character (UR/Subholon); Theme/Meaning and Value (LL/Subholon); Story Events/Plot (LR/Subholon) IMAGE (UR/Primary Holon): Visual Meaning/Code/Message (UL/Subholon); Visual Object/Signifier Element (UR/Subholon); Visual Structure/Signification (LL/Subholon); Visual Context/Signifier System (UR/Subholon) SOUND (LL/Primary Holon): Music/Emotional Signifier (UL/Subholon); Sound Effects/Sound Objects (UR/Subholon); Dialogue/Voice (LL/Subholon); Background/Atmosphere (UR/Subholon) TIME (LR/Primary Holon): Subjective Time/Temporal Perception (UL/Subholon); Real Time/Screen Time (UR/Subholon); Shared Time/Constructed Time (LL/Subholon); Historical Time/Accumulated Time (UR/Subholon)
The integration of cinematic content with structure, form, and style is the essential process for producing what film theorist Sergei Eisenstein called cinematic synchronization of the senses(Eisenstein, 1942). Eisenstein believed that the “integration of word, image, and sound, and the accumulation of successive images and sounds” (p. 69) with a cinematic work’s content, structure, form, and style could produce higher, deeper, subtler, and more immersive levels of cinematic communication by more closely replicating the multidimensional sensory stimulation of actual lived experience. The above findings suggest that Integrally-informed cinematic artists may naturally integrate content with structure, form, and style across all four dimensions of cinematic expression, producing a relatively high degree of sensory synchronization in their cinematic works. This may also be evidence of an inherently more advanced ability to use the comprehensive nature of the medium at the Integral level and higher. Content refers to cinematic subject matter, themes, meaning, purpose, and values; Structure refers to the cinematic language or syntax used to express this content; Form refers to the cinematic forms (i.e.: light, color, framing, set pieces, wardrobe, dialogue, etc.) that are used as the building blocks of this cinematic language; Style refers to individual and collective stylistic approaches used to put all these elements together.CONTENT, STRUCTURE, FORM AND STYLE exists in all 4 dimensions of TEXT, IMAGE, SOUND AND TIME.
Wilber’s notion is that all human produced artifacts, including works of art and media, have some level of creator-to-artifact consciousness embedding, which includes the creator’s worldview. In cinematic works, this embedded worldview can be observed in the various textual, visual, auditory, and temporal choices the cinematic artist(s) has made to express their vision. For example, the worldview of the cinematic artist(s) can be communicated through: The text’s premise, themes, content, structures, and styles, and story/character values and worldview structures; The visual and auditory choices of inclusion/exclusion, focus-of-attention, audio/visual content, structure, and style, and the signification and coding of the meaning and value of the auditory and visual elements; The meaning and value system constructed by the temporal accumulation of the textual, visual, and auditory meaning and value structures Content refers to cinematic subject matter, themes, meaning, purpose, and values; Structure refers to the cinematic language or syntax used to express this content; Form refers to the cinematic forms (i.e.: light, color, framing, set pieces, wardrobe, dialogue, etc.) that are used as the building blocks of this cinematic language; Style refers to individual and collective stylistic approaches used to put all these elements together.
While there appears to be some degree of natural integration of the elements of cinematic expression for cinematic works by Integrally-informed cinematic artists, we can safely assume that an Integrally-informed cinematic artist could also choose to consciously control the level of cinematic expression element integration. Indeed, this brings up the question of just how has and can Integral consciousness be expressed in the process of creating cinematic media. To discern possible answers to this question we can also use the quadrants to look at the essential dimensions of the process of creating a cinematic work. These basic dimensions appear to be: THE CINEMATIC CREATOR: The interior-subjective dimension of the vision and consciousness of the individual cinematic artist(s), or what I am calling the Cinematic Creator or Cinematic Creator Consciousness (UL); THE CINEMATIC WORK: The objective/artifact dimension of the completed Cinematic Work or the Constructed Cinematic Reality (UR); CINEMATIC CREATION CULTURE: The inter-relational and cultural dimension of the team of cinematic artists that is required to create a cinematic work, or what I am calling the Cinematic Creation Culture or the Cinematic Creative Team Culture (LL); CINEMATIC CREATION PROCESS: The creation processes, procedures, technologies, and systems used by the team of cinematic artists to create the cinematic work through the creation phases of cinematic development, production, distribution, and exhibition, which I am calling the Cinematic Creation Process (LR)
Taking all these dimensions of cinematic creation into account, there appears to be five general categories of what could be called “Integral Cinema” or Integral cinematic creation approaches. This typology of forms of Integral cinematic creation includes: Integrally-Informed Cinema (IIC) in which Cinematic Creator Consciousness (UL) is at the Integral level or higher; Integrally-Designed Cinema (IDC) where an Integrally-informed cinematic artist(s) consciously applies Integral Theory to the textual, visual, auditory, and temporal design of a cinematic work (UR); Integrally-Created Cinema (ICC) where an Integrally-informed cinematic artist(s) consciously applies Integral Theory to the Cinematic Creative Team Culture, and the various development and production approaches and processes involved in the creation of a cinematic work (LL/LR); Integrally-Shared Cinema (ISC) where an Integral approach is consciously applied to the relational, cultural, business, technological, social, and environmental processes and forces involved in cinematic distribution, marketing, and exhibition (LL/LR); Comprehensive Integral Cinema (CIC) in which all of the above forms are combined. This integration of all-quadrants, all-levels, lines, states, and types into a creative work is what Wilber refers to as “comprehensive art,” and he differentiates this form of Integral Art from “Integrally-informed art,” which is “any art produced by Integral consciousness”(Wilber, 2003a). Usually comprehensive art refers to art that has been consciously created to reflect the Integral perspective, but Wilber notes that the art of the cinema is more inherently comprehensive than other mediums because it employs the multiple forms of expression of text, image, and sound (Wilber, 2003a).
THEORY: An important, and perhaps foundational, area of application for Integral Theory and cinematic media is in the area of cinematic media theory, history, and criticism. Integral Theory is already being effectively applied to art theory, history, and criticism (Rentschler, 2006a; 2006b; Wilber, 2001), and this application suggests that we can use an Integral approach to view and analyze the nature of the cinematic medium itself, any individual cinematic work, and more collective cinematic movements and trends. This current article represents my own preliminary attempt at this application. DEVELOPMENT: The heart of the cinematic medium is the creation of parallel and/or alternate visions of personal and collective realities. From a filmmaker’s perspective, I can see how using an Integrally-informed approach to view self, culture, and world could deepen and broaden my creative vision as a cinematic artist by offering me a more comprehensive map of these personal and collective realities. The Integrally-informed and inspired cinematic artist could more clearly express these deeper and more expansive visions into more powerful and effective cinematic realities by directly applying the AQAL model to the textual, visual, auditory, and temporal design of the cinematic work. For example, the creation of an AQAL matrix, a map that includes quadrants, lines, levels, states, and types, for every character could make the characters richer, deeper, more believable, and more empathetic. It is also conceivable that the application of the Integral/AQAL model into all four cinematic dimensions (text, image, sound, and time) could offer cinematic artists the ability to affect not only the state of consciousness of audience members, but also provide a potential catalyst for level/stage development through an enhanced process of sensory synchronization. This could in turn, transform cinematic works into much more powerful and effective tools for personal, cultural, and social education, growth, and development, and for the evolution of consciousness.PRODUCTION: The collaborative nature of the cinema is both a powerfully helpful and challenging force in the process of translating the cinematic vision into a successfully expressed cinematic work. One of the key challenges of this process is the communication of the creative vision across the multiple domains of activity required to produce a cinematic work (i.e.: cinematography, sound design, music, acting, costume design, art direction, set construction, production management, contracts, etc.). By using an Integral approach to establish a common communication framework, the entire cinematic creation team could communicate more clearly and effectively across their multiple domains of perception and experience. In addition, the presence of key development and production personnel operating at the Integral level or higher could potentially act as a cultural/social contagion, influencing and up-leveling individual and group behavior and communication patterns (Barsade, 2002; Bostock, 2002; Hatfield et al., 1993).PRODUCTION/DISTRIBUTION: The business of financing, producing, distributing, marketing, and exhibiting a cinematic work is perhaps one of the most powerful and illusive aspects of bringing the cinematic vision from conception to screen. The film and television industry has been plagued for years by the notoriously high cost and often-turbulent workflows of the cinematic production and distribution process, and the inability to predict if a cinematic work will recoup its cost and turn a profit. The application of Integral business and marketing strategies could potentially enhance and transform this important process by offering a more comprehensive and accurate map of production, distribution, and market forces, creating a more efficient, cost-effective, healthy, and creatively fulfilling workflow, while increasing the market potential of the cinematic work.INTEGRAL-CONVERGENCE AGE: Wilber notes that the evolution of individual and cultural consciousness (UL/LL) is intimately tied to the evolution of socio-techno-economic development (LR) (Wilber, 1995; 2003b); for example, the Rational structure of consciousness is correlated to the Industrial Age, and the Information Age is correlated to the Pluralistic structure. Current trends suggest we may be entering another socio-techno-economic age, which could be called the Convergence Age; an age of convergence between constructed or virtual realities and our “normal” everyday reality, bringing us more integrated, immersive, and embedded media platforms and environments, along with a correlating convergence culture in which individuals and social networks integrate dispersed media content into meaningful wholes (Jenkins, 2008). If this cultural (LL) and technology (LR) convergence and integration trend is an indication of a shift from the Pluralistic-Information Age to an Integral-Convergence Age, then we can safely assume that the Integral structure would be the most appropriate level of consciousness for fully comprehending and mastering this complex and rapidly evolving Convergence Age.
In addition, as in the case of Integral Art theory, we can also use the Integral approach to map out and integrate the various theories of cinematic media analysis and criticism across the four quadrants. For example, a preliminary mapping I performed of major film theories suggests that most, if not all, of these theories can be sorted into four distinct yet interrelated categories: Subjective film theories (UL) which tend to focus on the cinematic experience, in relation to either the cinematic artist’s intention/vision or the viewer’s reception experience (i.e.: phenomenological, psychoanalytical, cognitive, and auteur theories); Objective film theories (UR) which concentrate on the technical forms and properties of the cinematic work itself (i.e.: formalist); Intersubjective film theories (LL) which center on the language or meaning structures of cinema (i.e.: semiotics, structuralist, hermeneutics); Interobjective film theories which seek to situate cinema within a greater context or milieu (i.e.: realist, feminist, Marxist, apparatus, ideological film theories). From this perspective, these diverse and often seemingly opposing film theories can be seen as equal and simultaneous dimensions of the cinema: The cinematic work (form), the cinematic experience, the language of the cinema, and the milieu of cinema. As this preliminary example suggests, this type of integral mapping has the potential to help us more deeply understand all the dimensions of cinematic media, and as noted above, resolve the heated conflicts between these often competing theoretical perspectives. THE CINEMATIC EXPERIENCE:Interior-Individual “I.” Subjective Film Theories. Center of Gravity: The Cinematic Experience (Intention/Reception). Theories: Phenomenological; Psychoanalytical; Cognitive; Auteur. Theorists: AmedeeAyfre; Henri Agel; Jacques Lacan; David Bordwell; François Truffaut THE CINEMATIC WORK: Exterior-Individual “IT.”Objective Film Theories. Center of Gravity: The Cinematic Work (Form). Theories: Formalist. Theorists: Hugo Munsterberg; Rudolf Arnheim; Sergei Eisenstein; BelaBelazs THE LANGUAGE OF CINEMA:Interior-Collective “WE.” Intersubjective Film Theories. Center of Gravity: The Language of Cinema (Structure). Theories: Semiotics; Structuralist; Hermeneutics. Theorists: Christian Metz; Raymond Bellour; Andrei Tarkovsky. THE MILIEU OF CINEMA: Exterior-Collective “ITS.” Interobjective Film Theories. Center of Gravity: The Milieu of Cinema (Context). Theories: Realist; Feminist; Marxist; Apparatus; Ideological. Theorists: Siegfried Kracauer; Andre Bazin; Molly Haskell; Laura Mulvey; Sergei Eisenstein; Colin MacCabe; Jean-Louis Baudry; Jean-Louis ComolliIn the above analysis of Germaine Dulac’sLa Coquille et le Clergyman I attempted to apply an Integral approach to cinematic analysis in which I endeavored to explore the filmmakers consciousness and intentions (UL); the cinematic work’s content, structure, form, and style (UR); the cinematic language of the work (LL); and the social and systemic forces surrounding her work (LR).
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