integral cinematic analysis

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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

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Page 1: Integral Cinematic Analysis

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

Page 2: Integral Cinematic Analysis

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

Page 3: Integral Cinematic Analysis

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.

Page 4: Integral Cinematic Analysis

AN INTEGRAL MAPPING OF MAJOR FILM AND MEDIA ANALYTICAL APPROACHES

Historical, Theoretical, and Critical Approaches

Page 5: Integral Cinematic Analysis

Mapping the Four Analytical Domains of Cinematic Media

Page 6: Integral Cinematic Analysis

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)

Page 7: Integral Cinematic Analysis

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

Page 8: Integral Cinematic Analysis

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

Page 9: Integral Cinematic Analysis

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

Page 10: Integral Cinematic Analysis

Mapping the Inside and Outside of the Four Analytical Domains of Cinematic Media

Page 11: Integral Cinematic Analysis

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

Page 12: Integral Cinematic Analysis

INTEGRALLY-INFORMED APPROACHES FOR CINEMATIC ANALYSIS

Gebser, Morin, and Wilber

Page 13: Integral Cinematic Analysis

Integral Cinematic Analytical Approaches

Integral Methodological Pluralism (IMP) Approach

All-Quadrant-All-Level (AQAL) Approach

Aperspectival-Altitudinal Approach

Complexity Approach

Page 14: Integral Cinematic Analysis

Integral Methodological Pluralism (IMP) Analytical Approach

Integrating the Major Analytical Domains into a Tetra-Analytical Meta-Approach

Page 15: Integral Cinematic Analysis

All-Quadrant-All-Level (AQAL) Analytical Approach

Subject/ Object of Analysis

Holonic Lens

Quadratic Lens

Developmental Lens

States Lens

Typology Lens

Zonal Lens

Page 16: Integral Cinematic Analysis

ACT

SEQUENCE

SCENE

SHOT

FRAME

The Holonic Lens

Page 17: Integral Cinematic Analysis

The Quadratic Lens

Page 18: Integral Cinematic Analysis

The Developmental Lens

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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

Page 20: Integral Cinematic Analysis

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

Page 21: Integral Cinematic Analysis

The Zonal Lens

Page 22: Integral Cinematic Analysis

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

Page 23: Integral Cinematic Analysis

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

Page 24: Integral Cinematic Analysis

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

Page 25: Integral Cinematic Analysis

ComplexityAnalytical Approach

The Complex Circuit of Cinematic Subjective-Objective Transmutation

Page 26: Integral Cinematic Analysis

Mapping the Levels of Participation and Immersion

Page 27: Integral Cinematic Analysis

Mapping the Cinematic Symbiotic-Metamorphic Tetra-Evolutionary Complex

Page 28: Integral Cinematic Analysis

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

Page 29: Integral Cinematic Analysis

PUTTING IT ALL TOGETHER INTO A MODEL FOR INTEGRAL CINEMATIC ANALYSIS

IMP, AQAL, Aperspectivalism, Complexity

Page 30: Integral Cinematic Analysis

Integrally-Informed Lenses of Cinematic Analysis

Subject/ Object of Analysis

IMP Lens

AQAL Lens

Complexity Lens

Aperspectival-Altitudinal

Lens

Page 31: Integral Cinematic Analysis

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.

Download the Complete Journal Article of this Work at:https://foundation.metaintegral.org/products/integral-cinematic-analysis