Integral Goes to the Movies
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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"
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Integral Goes to the Movies
- 2. Integral Goes to the Movies With Mark Allan Kaplan, Ph.D. Presented at Bay Area Integral 2016
- 3. The Evolution of Storytelling Visual/ Pictorial Oral/ Theatrical Written/ Printed Moving Image Cinema, or the moving image medium, evolved out of a long lineage of storytelling communication mediums.
- 4. Cinema in all its Evolving Forms MOVIES TELEVISION VIDEO GAMES VIRTUAL REALITY Cinema, as I am using it, is the moving image in all its evolving forms, from movies and TV to videogames and virtual reality.
- 5. What is Integral? Integral Stage/Structure Integral Theory/Map Integral is a stage of individual and collective development and a structure of consciousness. Integral Theory attempts to translate this structure into a theoretical and practical map for achieving and applying an integral structure of consciousness.
- 6. Integral Theory Map (Quadrants, Levels and Lines)
- 9. Integral and the Cinema “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 in the 1920’s by French avant-garde feminist filmmaker Germaine Dulac.
- 10. Integral is a lens through which we can look at any film. Integral structures of consciousness are also expressed through the medium itself, along with all the structures of consciousness. Integral and the Cinema
- 11. Worldview Structures of Consciousness Cultural Worldviews Integral Pluralistic Rational Mythic Magical Archaic
- 12. Worldview Structures of Consciousness in Movies and the Cinematic Medium Cinematic Medium Integral Pluralistic Rational Mythic Magical Archaic Cinematic Works Integral Pluralistic Rational Mythic Magical Archaic
- 13. Integral and all the other structures or altitudes of consciousness are embedded in our all our moving image media. These media altitudes mirror, help or hinder the evolution of our individual and collective consciousness. Integral and the Cinema
- 14. The Evolution of Structures of Consciousness in the Cinematic Medium Archaic Magical Mythic Rational Pluralistic Integral From Muybridge’s galloping horse (1878); The Vanishing Lady (1896); The Great Train Robbery (1903); A Trip Down Market Street (1906); The Cabinet of Dr. Caligari (1920); The Seashell and the Clergyman (1926)
- 15. By becoming more conscious of how altitudes of consciousness are embedded in our moving image media we become more aware of how media effects us. It also makes us more savvy spotters of Integral trends in popular media and deepens our understanding of the ways current media and technologies are helping to transition us into an Integral Age. Integral and the Cinema
- 16. ALTITUDE TEXT (Rooted in Text but translated through Image, Sound, Time as well) IMAGE SOUND IMAGE/TIME SET AND SETTING ALTITUDE COLOR SPECTRUM WORLDVIEW CIRCLE OF CARE AND CONCERN STORY/EVENT VALUE-POLARITY PATTERNS TRUTH-VALUE PATTERNS STORY/EVENT CAUSALITY-VALUE PATTERNS MODES OF CINEMATIC EXPRESSION MODES OF MUSICAL EXPRESSION FIELD OF SPATIAL- TEMPORAL PERCEPTION TECHNO-ECONOMIC STRUCTURES INDIGO- CLEAR LIGHT Transpersonal (Super- Integral) Trans-centric Trans-Polarity (Conscious Unity) Trans-Truth (Conscious Suchness) Trans-Causal (Conscious Beingness) Transcendental Meditative / Transcendental / Contemplative / Ethereal Trans-Perspectival; Trans-Temporal Trans-Tech (Trans- Human)/ Cybernetic Organisms TEAL- TURQUOISE Integral Kosmo-centric Greater/Lesser Perspectival Depth and Span Qualified Truth Evolutionary Impulse Integrative Hybrid / Integrative / Fusion Aperspectival (5D); Vertical, Qualified Temporality Convergence/ Holistic Meshworks GREEN Pluralistic World-centric Aware/ Unaware Relative Truth Synchronicity Deconstructive Post-Modern/ Deconstructive / Abstract (Neo- Classical) Multi-Perspectival (4D); Non-Linear, Abstractly Temporal Informational/ Value Communities ORANGE Rational Socio-centric Real/Unreal Objective Truth Cause and Effect Realist Modern / Pop (Synthesizer, etc.) Perspectival (3D); Linear, Future- Oriented Temporality Industrial/ Corporate States AMBER Mythic Ethno-centric Right/Wrong Absolute Truth Divine Providence Iconic Traditional / Classical Bi-Perspectival (2D); Linear, Past- Oriented Temporality Agrarian/ Nation States RED Magical Ego-centric Belief/Disbelief Subjective Truth Wish Fulfillment Imaginal Folk / Indigenous Uni-Perspectival (1D); Timeless Horticultural/ Tribal MAGENTA Archaic Pre-Egoic Pre-Polarity (Pre- Conscious Unity) Pre-Truth (Pre-Conscious Suchness Pre-Causal (Pre- Conscious Beingness) Emotive Primal (Drums, heartbeats) Pre-Perspectival; Pre-Temporal Foraging/ Nomatic Cinematic Altitude Embedding
- 17. Integral cinematic works appear to be the first form of moving image media to attempt to map the evolution of consciousness itself in some form. Integral and the Cinema
- 18. Cinematic Altitudes - Worldviews Archaic Magical Mythic Rational Pluralistic Integral From The Seashell and the Clergyman (1926)
- 19. Cinematic Altitudes - Worldviews Archaic Magical Mythic Rational Pluralistic Integral From Inception (2010)
- 20. Cinematic Altitudes - States Vital Emotional Archetypal Mental Perspectival Waking From Inception (2010)
- 21. Circles of Care and Concern Kosmocentric Worldcentric Sociocentric Ethnocentric Egocentric
- 22. Egocentric Ethnocentric Sociocentric Worldcentric Kosmocentric Cinematic Circles of Care and Concern From The Seashell and the Clergyman (1926)
- 23. Egocentric Ethnocentric Sociocentric Worldcentric Kosmocentric Cinematic Circles of Care and Concern From Groundhog Day (1993)
- 24. What Makes a Movie Integral
- 25. What Makes a Movie Integral 1. The exploration and integration of multiple evolving dimensions and perspectives of lesser and greater depth and span
- 26. What Makes a Movie Integral 2. The concretion of abstract and interior dimensions and perspectives, such as time and interiority, in the service of evolutionary growth and development
- 27. What Makes a Movie Integral 3. The integration of the masculine and feminine through a synthesis and balancing of the forces of Agency and Communion in the service of evolutionary growth and development
- 28. What Makes a Movie Integral Masculine (Agency) Integral Synergy (Agency/ Communion) Feminine (Communion) • Event-Driven • Event/Character • Character-Driven • Action-Oriented • Action/Experience • Experience-Oriented • Separation • Separation/Union • Union • Ranking • Ranking/Linking • Linking • Transcendence • Transcendence/ Immanence • Immanence
- 29. What Makes a Movie Integral 4. An evolutionary story, event, and/or character progression that is given greater than or equal emphasis to conflict resolution, with progression developing vertically through at least three stages or levels of development
- 30. What Makes a Movie Integral 5. The evolutionary impulse as a driving force or causality pattern
- 31. What Makes a Movie Integral 6. The valuing of truth that is qualified by evolving perspectival fields
- 32. What Makes a Movie Integral 7. A Kosmocentric circle of care and concern that suggests an awareness, integration, and embracing of all of existence
- 33. What Makes a Movie Integral 1. The exploration and integration of multiple evolving dimensions and perspectives of lesser and greater depth and span 2. The concretion of abstract and interior dimensions and perspectives, such as time and interiority, in the service of evolutionary growth and development 3. The integration of the masculine and feminine through a synthesis and balancing of the forces of Agency and Communion in the service of evolutionary growth and development 4. An evolutionary story, event, and/or character progression that is given greater than or equal emphasis to conflict resolution, with progression developing vertically through at least three stages or levels of development 5. The evolutionary impulse as a driving force or causality pattern 6. The valuing of truth that is qualified by evolving perspectival fields 7. A Kosmocentric circle of care and concern that suggests an awareness, integration, and embracing of all of existence
- 34. Just because a film appears to have Integral elements does not mean it is higher in artistic or material quality. Integral and the Cinema
- 35. Integral Cinema Top Ten List 1. “The Seashell and the Clergyman” (1928) 2. “Citizen Kane” (1941) 3. “2001: A Space Odyssey” (1968) 4. “Groundhog Day” (1993) 5. “The Matrix Trilogy” (1999-2003) 6. “The Sixth Sense” (1999) 7. “The Dark Knight Trilogy” (2005-2012) 8. “Bee Season” (2005) 9. “The Fountain” (2006) 10. “Inception” (2010) In historical order honoring the evolutionary impact of the cinematic works that have come before each work.
- 36. Movies that Viscerally Represent the Different Integral Lenses HOLONS: “The Sixth Sense” (1999) QUADRANTS: “I Heart Huckabees” (2004) LEVELS: “Groundhog Day” (1993) LINES: “The Imaginarium of Doctor Parnassus” (2009) STATES: “Altered States” (1980) TYPES: “Source Code” (2011) ZONES: “Bee Season” (2005) ALTITUDES: “Inception” (2010) ENERGIES: “2001: A Space Odyssey” (1968) METHODOLOGIES: “Everything is Illuminated” (2005) COMPLEXITIES (TETRA-EVOLUTION): “Cloud Atlas” (2012) ARCHETYPES: “The Dark Knight Trilogy” (2005-2012) For more on this list see Integral Cinema Studio Series and the Meta-Movieology Courses at www.integralcinema.com
- 37. References and Resources • Clips from the movies explored in this presentation are available on the INTEGRAL CINEMA PROJECT YOUTUBE CHANNEL • A complete list of all the movies and television series that have tested positive for integrally-informed elements are available at the IMDb INTEGRAL CINEMA AND TV LIST • For more about the movies that viscerally represent the different integral lenses see the Integral Life INTEGRAL CINEMA STUDIO ARTICLE SERIES • For information on Mark’s upcoming courses on using any cinematic work as an integrally-informed evolutionary transformative practice see the META-MOVIEOLOGY COURSES WEBSITE • For more on Mark’s research and Integral Cinema applications visit the INTEGRAL CINEMA PROJECT WEBSITE • And to stay informed and updated about Mark’s work, including upcoming seminars and workshops, sign up for the INTEGRAL CINEMA PROJECT MAILING LIST.
- 38. Integral Goes to the Movies With Mark Allan Kaplan, Ph.D. Presented at Bay Area Integral 2016
- 39. For More on Integral Cinema: Visit the Integral Cinema Project at www.integralcinema.com
Notes de l'éditeur
- First motion picture: Muybridge’s Galloping Horse (1878) The Vanishing Lady (1896) The Great Train Robbery (1903) A Trip Down Market Street (1906) The Cabinet of Dr. Caligari (1920) The Seashell and the Clergyman (1927)
- Full Spectrum
- 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 Archaic to 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).
- Waking Reality – Gross Level: Integral Worldview Integrative Mode of Cinematic Expression (Representation of multiple perspectives and structures of varying depth and span) Dream Reality – Subtle Level One: Pluralistic Worldview Deconstructive Mode of Cinematic Expression (Representation and personification of multiple relative perspectives) Dream Reality – Subtle Level Two: Rational Worldview Realist Mode of Cinematic Expression (Moving through the logic maze to achieve a future goal) Dream Reality – Subtle Level Three: Mythic Worldview Iconic Mode of Cinematic Expression (Siege on the iconic fortress to uncover a hidden past) Dream Reality – Subtle Level Four (Limbo – Approaching Causal Deep Sleep Level): Magical Worldview Imaginal Mode of Cinematic Expression (Timeless worlds imagined) Dream Reality – Subtle Level Five (Deep Limbo – Near Causal Deep Sleep Level): Archaic Worldview Emotive Mode of Cinematic Expression (Lost in the deep unconscious)
- Waking Reality – Gross Level: Integral Worldview Integrative Mode of Cinematic Expression (Representation of multiple perspectives and structures of varying depth and span) Dream Reality – Subtle Level One: Pluralistic Worldview Deconstructive Mode of Cinematic Expression (Representation and personification of multiple relative perspectives) Dream Reality – Subtle Level Two: Rational Worldview Realist Mode of Cinematic Expression (Moving through the logic maze to achieve a future goal) Dream Reality – Subtle Level Three: Mythic Worldview Iconic Mode of Cinematic Expression (Siege on the iconic fortress to uncover a hidden past) Dream Reality – Subtle Level Four (Limbo – Approaching Causal Deep Sleep Level): Magical Worldview Imaginal Mode of Cinematic Expression (Timeless worlds imagined) Dream Reality – Subtle Level Five (Deep Limbo – Near Causal Deep Sleep Level): Archaic Worldview Emotive Mode of Cinematic Expression (Lost in the deep unconscious)
- 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
- OLD TEST 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.
- OLD TEST 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.
- OLD TEST 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.
- OLD TEST 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.
- OLD TEST 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.
- OLD TEST 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.
- OLD TEST 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.
- OLD TEST 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.
- OLD TEST 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.
- OLD TEST 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.