integral cinematic analysis
TRANSCRIPT
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. (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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