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