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

Presentation Overview

Putting it all Together into a Model for Integral Cinematic Analysis

Integrally-Informed Integrally-Informed Approaches for

Cinematic Analysis

An Integral Mapping of Major Film and Media Theoretical Approaches

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.

AN INTEGRAL MAPPING OF MAJOR FILM AND MEDIA ANALYTICAL APPROACHES

Historical, Theoretical, and Critical Approaches

Mapping the Four Analytical Domains of Cinematic Media

The Cinematic Experience

Analyses of the 1st-Person domain of the cinematic experience of both creators and viewers

• Phenomenological, Psychoanalytical, Cognitive, Auteur, and Reception Theory

From Clockwork Orange (1971)

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

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, Structuralist, and Genre Studies

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, Feminist, Marxist, and Social Penetration Theory

Mapping the Inside and Outside of the Four Analytical Domains of Cinematic Media

The Eight Analytical Zones of Cinematic Media

QUADRANTS ZONES INSIDE/OUTSIDE ANALYTICAL APPROACHESUpper Left (UL) QuadrantSubjective/1st Person

Zone 1 UL/Inside Phenomenological; Phenomenological Aesthetics

Zone 2 UL/Outside Psychoanalytical; Cognitive; Auteur; Reception Theory

Lower Left (LL) QuadrantIntersubjective/2nd Person

Zone 3 LL/Inside Hermeneutic; Philosophy of Language

Zone 4 LL/Outside Semiotic; Structuralist; Genre Studies; Cultural Studies

Upper Right (UR) QuadrantObjective/3rd Person

Zone 5 UR/Inside Formalist; Filmic Expression

Zone 6 UR/Outside Realist; Neo-Realist

Lower Right (LR) QuadrantInterobjective/3rd Person Plural

Zone 7 LR/Inside Ideological; Feminist; Marxist; Social Penetration

Zone 8 LR/Outside Apparatus; Screen Theory; Intermediality; Media Archeology

INTEGRALLY-INFORMED APPROACHES FOR CINEMATIC ANALYSIS

Gebser, Morin, and Wilber

Integral Cinematic Analytical Approaches

Integral Methodological Pluralism (IMP) Approach

All-Quadrant-All-Level (AQAL) Approach

Aperspectival-Altitudinal Approach

Complexity Approach

Integral Methodological Pluralism (IMP) Analytical Approach

Integrating the Major Analytical Domains into a Tetra-Analytical Meta-Approach

All-Quadrant-All-Level (AQAL) Analytical Approach

Subject/ Object of Analysis

Holonic Lens

Quadratic Lens

Developmental Lens

States Lens

Typology Lens

Zonal Lens

ACT

SEQUENCE

SCENE

SHOT

FRAME

The Holonic Lens

The Quadratic Lens

The Developmental Lens

The States Lens

• Cinematic Temporal States (Slow Motion, Fast Motion, etc.)

• Editorial Rhythm States (Montage, Jump Cuts, etc.)

• Auditory States (Harmony, Dissonance, Silence, 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, etc.)

• Narrative Event States (Suspense, Ambiguity, etc.)

TEXTUAL STATES

VISUAL STATES

TEMPORAL STATES

AUDITORY STATES

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, Atmospheric, etc.),

• Sound Effect Types (Natural, Human, etc.)

• Shot Types (Close-Up, Long Shot, etc.),

• Visual Expressive Element Types (Space, Shape, Color, Light, etc.),

• Screen Format Types (Wide Screen, Full Screen, IMAX, etc.),

• Character Types (Protagonist, Antagonist, etc.)

• Story Plot Types (Arch-Plot, Mini-Plot, Anti-Plot, etc.).

TEXTUAL TYPES

VISUAL TYPES

TEMPORAL TYPES

AUDITORY TYPES

The Zonal Lens

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

AuditoryObject 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

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

Worldview/Altitude

Circle of Care and Concern

Field of Spatial-Temporal Perception

Techno-Economic Structures

Subjective/ ObjectiveEmphasis

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/ NomadicLatent Interiority/ Undifferentiated World

Primal/Sensory-Motor

Levels and Lines of Development Associated with the Embedding of Cinematic Altitudinal and Perspectival Structures

ComplexityAnalytical Approach

The Complex Circuit of Cinematic Subjective-Objective Transmutation

Mapping the Levels of Participation and Immersion

Mapping the Cinematic Symbiotic-Metamorphic Tetra-Evolutionary Complex

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

PUTTING IT ALL TOGETHER INTO A MODEL FOR INTEGRAL CINEMATIC ANALYSIS

IMP, AQAL, Aperspectivalism, Complexity

Integrally-Informed Lenses of Cinematic Analysis

Subject/ Object of Analysis

IMP Lens

AQAL Lens

Complexity Lens

Aperspectival-Altitudinal

Lens

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 PaperBy Mark Allan Kaplan, Ph.D.

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