1.
Integral Goes to the Movies
With Mark Allan Kaplan, Ph.D.
Presented at Bay Area Integral 2016

2.
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.

3.
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.

4.
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.

5.
Integral Theory Map
(Quadrants, Levels and Lines)

6.
Integral Theory Map
(Tetra-Evolution)

7.
Integral Theory Map
(Zones)

8.
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.

9.
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

10.
Worldview Structures of Consciousness
Cultural
Worldviews
Integral
Pluralistic
Rational
Mythic
Magical
Archaic

11.
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

12.
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

13.
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)

14.
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

15.
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

16.
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

17.
Cinematic Altitudes - Worldviews
Archaic Magical Mythic
Rational Pluralistic Integral
From The Seashell and the Clergyman (1926)

18.
Cinematic Altitudes - Worldviews
Archaic Magical Mythic
Rational Pluralistic Integral
From Inception (2010)

19.
Cinematic Altitudes - States
Vital Emotional Archetypal
Mental Perspectival Waking
From Inception (2010)

20.
Circles of Care and Concern
Kosmocentric
Worldcentric
Sociocentric
Ethnocentric
Egocentric

21.
Egocentric Ethnocentric Sociocentric
Worldcentric Kosmocentric
Cinematic Circles of Care and Concern
From The Seashell and the Clergyman (1926)

22.
Egocentric Ethnocentric Sociocentric
Worldcentric Kosmocentric
Cinematic Circles of Care and Concern
From Groundhog Day (1993)

23.
What Makes a Movie Integral

24.
What Makes a Movie Integral
1. The exploration and integration of multiple
evolving dimensions and perspectives of
lesser and greater depth and span

25.
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

26.
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

27.
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

28.
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

29.
What Makes a Movie Integral
5. The evolutionary impulse as a driving force
or causality pattern

30.
What Makes a Movie Integral
6. The valuing of truth that is qualified by
evolving perspectival fields

31.
What Makes a Movie Integral
7. A Kosmocentric circle of care and concern
that suggests an awareness, integration, and
embracing of all of existence

32.
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

33.
Just because a film appears to have Integral
elements does not mean it is higher in artistic
or material quality.
Integral and the Cinema

34.
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.

35.
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

36.
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.

37.
Integral Goes to the Movies
With Mark Allan Kaplan, Ph.D.
Presented at Bay Area Integral 2016

38.
For More on Integral Cinema:
Visit the Integral Cinema Project at
www.integralcinema.com