Post on 16-Apr-2017
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
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
INTEGRAL CINEMA HISTORICAL AND THEORETICAL ANALYSIS
Dulac, Gebser, and Wilber
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.
Inherent Language of the Cinema
Visual Meaning
Visual Object
Visual Structur
e
Visual Context
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.
Jean Gebser (1905-1973)
Integral Art/Cinema Aperspectivalism
• Concretion of Time
• Concretion of Interiority
Concretion of Time
Sunrise Clergyman
Woman General Sunset
From The Seashell and the Clergyman (1926)
Concretion of Interiority
From The Seashell and the Clergyman (1926)
Ken Wilber (1949--)
Integral- Aperspectival Cinematic Vision
• Multiple Perspectives• Multiple Perspectival
Meaning and Value• Perspectival Holarchy
Cinematic Quadrants/Quadrivia
From The Seashell and the Clergyman (1926)
Egocentric Ethnocentric
Worldcentric Kosmocentric
Cinematic Levels/Lines
From The Seashell and the Clergyman (1926)
Egocentric ImageryThe Clinging/Grasping Limited/Separate Self
From The Seashell and the Clergyman (1926)
Ethnocentric ImageryThe Ballroom of Communal Dance
From The Seashell and the Clergyman (1926)
Worldcentric ImageryThe Self in the World Sphere
From The Seashell and the Clergyman (1926)
Kosmocentric ImageryDrinking the Kosmic Soup
From The Seashell and the Clergyman (1926)
Cinematic States
From The Seashell and the Clergyman (1926)
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)
Cinematic Worldviews
Magical Mythic Rational
Pluralistic Integral
From The Seashell and the Clergyman (1926)
Magical Worldview ImageryThe Alchemist At Work
From The Seashell and the Clergyman (1926)
Mythic WorldviewThe King and Queen Rule
From The Seashell and the Clergyman (1926)
Rational Worldview ImageryThe Chessboard of Life
From The Seashell and the Clergyman (1926)
Pluralistic Worldview ImageryThe Union of Views
From The Seashell and the Clergyman (1926)
Integral Worldview ImageryThe Integration of all Dimensions
From The Seashell and the Clergyman (1926)
DEFINING CHARACTERISTICS OF AN INTEGRAL CINEMATIC WORK
Integral Cinematic Aperspectivalism
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
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)
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
INTEGRAL DIMENSIONS OF CINEMATIC EXPRESSION Cinematic Content/Expression Integration
The 4 Dimensions of Cinematic Expression and Constructed Cinematic Reality (CCR)
Text Image
Sound Time
Synchronization of the Senses
Text Image
Sound Time
ContentStructure
FormStyle
Cinematic Worldview Embedding
The Cinematic Work
The Cinematic Artist(s)
Worldview(s)
Content
Structure
Form
Style
FORMS OF INTEGRAL CINEMATIC CREATION
Integral Cinematic Creation Typology
The 4 Dimensions of Cinematic Creation
The Cinematic Creator
The Cinematic Work
Cinematic
Creation Culture
Cinematic
Creation Process
Integral Cinematic Creation Typology
Comprehensive Integral Cinema (CIC)
Integrally-Shared Cinema (ISC)
Integrally-Created Cinema (ICC)
Integrally-Designed Cinema (IDC)
Integrally-Informed Cinema (IIC)
POTENTIAL BENEFITS OF AN INTEGRAL CINEMA
Theory, Development, Production, and Distribution
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 consciousnessDevelopment
• 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 environmentDistribution
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)
INTEGRAL SCREENING EXPERIENCE
Available for Viewing at: http://www.ubu.com/film/dulac_coquille.html
Towards an Integral Cinema
The Application of Integral Theory to Cinematic Media Theory and Practice
2010 Integral Theory ConferencePaper 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