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"Cinema is not a reflection of reality, it is the reality of a reflection" - Jean-Luc Goddard

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The Integral Cinema Project

Posted July 1st, 2010 | 5 Comments

A little over ten years ago I had my first encounter with what might be called “integral filmmaking.” I had been studying Ken Wilber’s Sex, Ecology, Spirituality (1995) and practicing George Leonard and Michael Murphy’s Integral Transformative Practice (ITP) on a daily basis. One day I performed my ITP Kata (a set of integrated body, mind, and spirit exercises) right before running a camera test on my new digital video camcorder. Still being in a post-practice transformative state, I had a profound cinematic experience. As I moved through the house with the camera on, I appeared to be fully aware and conscious of my inner experience, the camera in my hand and the space within which I was moving. I exited the house and was drawn to our koi pond. Once there, I felt drawn into the world of the pond and entered a deep state of pure presence or witnessing. My camera became my eyes, and my body, my awareness and the camera danced with the fish, the gently rippling water, the shimmering sunlight, the caressing wind and the material forms of the pond and its surroundings. I spent hours at the pond, lost in a deep cinematic meditation process. Afterwards I felt a profound sense of gratitude and grace.
 
When I viewed my footage I was amazed at what I had captured. There before my eyes appeared to be a cinematic example of the four dimensions/perspectives of Wilber’s Integral Theory (Subjective/I Space; Inter-Subjective/We Space; Objective/IT Space; and Inter-Objective/ITS Space): Besides the physical reality of the pond (IT Space) and the environment within and around it (ITS Space), I had footage of the individual koi fish in which I could sense their individual presence (I Space) and footage of the fish in pairs and groups that seemed to reveal a collective and inter-relational presence (WE Space).
 
I decided to continue my accidental experiment, spending the next few days editing the material while in a post-ITP state. I would basically perform my ITP Kata (Leonard & Murphy, 1995) and then sit down at the computer and edit in that state. It was a wondrous experience, and once I finished, the viewing of the final work sent me into the very state I experienced while shooting it. When I showed it to a few people they all said the same thing -- that the video put them into a very relaxed state and gave them the experience of actually being at the koi pond.
 
Over the next few years I continued my studies of Integral Theory and my exploration of applying it to cinematic theory and practice. While enrolled in the Integral Studies Certificate Program at Fielding Graduate University, I profoundly deepened my research into Integral cinematic theory and practice with the support of the peer-based learning community, the great teachers, and the gift of spending an afternoon with Ken Wilber discussing Integral Theory and its application to cinema. The results of this phase of inquiry are currently being prepared for dissemination in the form of an article on Integral cinema for the Journal of Integral Theory and Practice and a presentation at the 2010 Integral Theory Conference.

Now I am embarking on the next phase of my research by formally launching The Integral Cinema Project…

The Integral Cinema Project is an Independent Research, Production, and Educational Initiative Exploring the Application of Integral Theory for Cinematic Media Theory and Practice.
 
The mission and purpose of the Integral Cinema Project is to develop and test a comprehensive model for Integral cinematic media theory, development, production and distribution through the creation of a series of short cinematic experiments and a full-length integrally-informed transmedia project with content delivered across feature, TV, web, mobile, and interactive platforms. This research endeavor will be documented in a digital video documentary and the results disseminated through various publications, media, and various educational services.
 
The research design and method is a form of Integral Theory’s Integral Methodological Pluralism (IMP), integrating 1st Person, 2nd Person, and 3rd Person research modalities.
 
The targeted potential benefits for this comprehensive application of Integral Theory to cinematic media theory and practice include: 
 
  • Creation of more powerful and effective cinematic realities that could potentially induce transformative states and stimulate shifts in stages of human development and the evolution of consciousness
  • Creation of more fulfilling, healthy, efficient and cost-effective production workflows
  • Increased ability to target and reach desired audiences
  • Enhanced aptitude for comprehending and navigating the rapidly evolving and convergent cinematic media environment, from feature films and television to YouTube and interactive cinema
  • Fostering of a greater understanding of the cinematic medium itself
 
This passionate quest to explore the further reaches of film theory and practice is inspiring and holds great promise. – Jean Picker Firstenberg, President Emeritus, the American Film Institute
 

To learn more about The Integral Cinema Project, please visit our website at:
 www.integralcinema.com

 

References

Wilber, K. (1995). Sex, ecology, spirituality: The spirit of evolution. Boston, MA: Shambhala.
 
Leonard, G. & Murphy, M. (1995). The life we are given: A long-term program for realizing the potential of body, mind, heart, and soul. New York: G. P. Putnam's Sons.
 

 



My First Taste of an Integral Life

Posted May 6th, 2010 | 2 Comments

My first inkling of an integral life came upon me when I was sitting at the bedside of my dying mother in the spring of 1993. Alzheimer’s and a severe stroke had taken their toll upon her and she could no longer see, speak, or move her body, except for small motions of her hands, head, and feet. As I sat by her side with various members of my family for several days, I had a profound mystical experience. All my years of studying many different spiritual traditions, mysteriously and automatically coalesced into a multi-tradition integrative practice of prayer, meditation, and presence that appeared to assist my mother and my whole family through the dying and grieving process, while also transforming my own heart and mind.
 
After this profoundly sorrowful and grace-filled experience, I began to see how each spiritual tradition I had studied had its own unique gifts and perspectives, which when put together created a more complete picture of my self, the world, and the Divine. This gave me my first real glimpse of what it means to live an Integral Life; a life that strives to engage in a wondrous evolutionary journey of ever-expanding and integrating fields of awareness, revealing higher, deeper and more expansive visions of self, others, and the world.


Tracing My Lines of Development

Posted April 16th, 2010

Taking a broad perspective on my life, I see that I am and have been passionate about three major lines of development: The Visio-Spatial Creative Line, the Cognitive Line, and the Spiritual Line. As I reflected on the kinds of things I have done, consciously or unconsciously, to engage and enjoy these particular capacities in my self, I realized that my initial focus on these three lines of development were all connected to my efforts to deal with, understand, overcome, and/or compensate for my stuttering.
 
With the onset of my stuttering at a very early age, I felt separate and alone in the midst of a world that appeared to laugh at me, ignore me, or feel uncomfortable around me when I tried to speak. Shifting my focus away from the verbal-relational world that had become so painful for me, I retreated into the Visio-Spatial world of drawing. When I discovered that my means of escape actually had the capacity to communicate, I began to throw myself into the Visio-Spatial realm and progressed to other mediums over the years, including painting, sculpture, photography, architectural design, and filmmaking. When I was accepted into film school at the end of my senior year of high school, I began my search to understand and heal my stuttering, so I could more fully embrace the collaborative process of filmmaking. This search led to the awakening of my passion for the search for knowledge, understanding, and expanded awareness. Then, while I was in college, I took a course in personal anthropology and had a profound awakening when my teacher told me that many of the world’s Shamanic traditions saw stuttering as a spiritual calling. This reframing of my “handicap” into a sacred calling led me to a quest along the Spiritual Line that has taken me through many years of study and practice in many of the world’s spiritual systems.
 
Over the years, I have continued my engagement and enjoyment of these lines of development by continuing my Visio-Spatial explorations of drawing, photography, design, and filmmaking; by continuing my personal and formal Cognitive studies through many different domains of knowledge and experience; and by continuing my spiritual quest through various traditions.
 

Image: LineMan by me (MAK)



The 1-2-3 of Healthcare Reform

Posted March 8th, 2010 | 25 Comments

I am one of the many faces of the recent and current healthcare and financial crisis. It all began when I became ill after having lost my health insurance. I ended up going into major debt paying for my own care, which led to financial ruin and near-homeless. I experienced first-hand the profound tetra-enmeshed nature of the healthcare and financial crisis in our country…feeling and perceiving loss, isolation, and pain on the physical, emotional, communal, and systemic levels of experience. During this whole process I felt a strange kind of connection between the inner and the outer as my own personal health and financial crisis appeared to be reflected in the greater culture and society. I could not help but feel that this was all part of a tetra-evolutionary process. On the individual level, besides my outer physical healing work throughout all this, I have also been attempting to process this whole experience on the using various inner Integral Life Practices, including Shadow work to uncover my own personal Shadow patterns that contributed to this situation. Concurrent with this individual inner-outer work, I have also been attempting to reflect on the collective and social dimensions of my experience by exploring the current healthcare debate from an Integral perspective, using various Integral lenses.
 
Looking at the issue from Integral Theory’s Big Three of I-We-It or 1st-2nd-3rd Person dimension-perspectives, it seems to me that within the boiling healthcare debate-soup there are 1st Person (1p), 2nd Person (2p), and 3rd Person (3p) competing healthcare reform approaches:
 
  • Individual-Freedom-oriented (1p) free-market “private” healthcare approaches;
  • Social-Systemic-oriented (3p) government-run “public” healthcare approaches; and
  • Collective-Community-oriented (2p) co-operative/non-profit “semi-public/private” healthcare approaches.
 
The private (1p) approaches appear to be most heavily associated with the conservative and mythic value meme (vMeme) political camps; The semi-public/private (2p) approaches associated with the centrist and rational vMeme political camps; and public (3p) approaches associated with the progressive and pluralistic vMeme political camps. In between these centers-of-gravity there appears to be varying degrees of attempted integration from those who are on the borders (between mythic/rational and rational/pluralistic vMemes).
 
Within this debate there also appears to be a fundamental question of whether healthcare is an “inalienable right” or “a privilege.” I believe this question is rooted in the central duality of our country’s doctrines which attempt to include equal measures of individual freedoms and certain socially-protected “inalienable” equal rights. Many of the 1p or private approaches to healthcare appear to champion freedom (individual and market) while forsaking some level of equality (degree of healthcare depends on economic class) and inalienable rights (degree of health is often directly related to an individual’s capacity to pursue the inalienable rights of Life, Liberty, and Happiness). Alternatively, many of the 3p or public healthcare approaches appear to sacrifice some degree of freedom (individual and market) in exchange for healthcare equality and inalienable rights, and most of the 2p or semi-public/private approaches seem to sacrifice some degree of both freedom and equality.
 
Then we have the issues of cost and quality. The private (1p) healthcare approaches tend to cost more for the individual person or group directly and cost less in taxation, while offering a relatively high degree of quality for those who can afford it and often a poor degree of quality for those who cannot afford it. The public (3p) approaches appear to cost the individual or group less in direct costs and more in taxation, while offering a more moderate degree of quality to a greater and more equal population. The semi-public/private (2p) approaches generally seem to offer a moderate degree of both cost and quality.
 
I believe this type of public/private/semi- (1p-2p-3p) tension can also be observed in our approaches to education. While our system is far from perfect, we seem to have achieved some degree of integration between the three perspectives by simultaneously offering public (3p) education, private (1p) education, and semi- public/private (2p) education (charter schools, home-schooling, etc). I think education is a good correlation to healthcare because both education and health affect an individual’s ability to pursue the inalienable rights of Life, Liberty, and Happiness.
 
In light of our country’s dual aspiration of individual freedom and socially-protected inalienable equal rights, I believe that a 100% private or a 100% public healthcare system is untenable and fundamentally incongruent with the aspirations and doctrines of our republic. While the nuts and bolts of our education system still needs a lot of work, I believe the 3-tiered structure that has evolved is inherently natural to our country’s ideals and current vMeme structures. Using this model, here is one possible scenario for an Integral “Big Three” approach to healthcare reform…
 
Basic Healthcare System Design:
 
  • Public Healthcare: Expansion of Medicaid and Medicare into a full-blown public healthcare system for those who cannot afford private care.
  • Private Healthcare: Strike a healthy balance of regulation and freedom for the Private Healthcare system (i.e.: Stronger patient rights; allow competition across state-lines; insurance pooling system; and balanced tort-reform).
  • Semi-Public/Private Healthcare: Regulatory support and incentives for Cooperative, Charter, and Non-Profit healthcare groups.
 
Obviously within this kind of three-tiered (1p-2p-3p) system there are a lot of complicated details that would have to be worked out, but I do believe a more Integral approach, like the basic template of the above three perspectives and the inherent dual aspirations of our system, can help a great deal. For example, with this awareness in mind, it seems to me that the notion of requiring all citizens to buy health insurance may go against the individual freedoms doctrines of our country. Interestingly, it seems that with the above proposed three-tier healthcare system, this requirement would be unnecessary, since the public system would be a free system for those who cannot afford private or semi-private/public healthcare.
 
So here it is…my own personal attempt to jump into the healthcare debate. I toss these words into the healthcare tetra-evolutionary soup with my prayers for vertical transformation for myself, for those in similar and worse situations, and for the greater system in which we live and co-create and co-evolve...

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The Integral-Convergence Age

Posted February 17th, 2010 | 4 Comments

 

 
If the co-evolutionary dance between the Pluralistic worldview movement in the LL cultural holon and the Information Age in the LR social holon is evolving to the next level, that of an Integral worldview movement in the LL cultural holon, the question arises: What is the equivalent Socio-Techno-Economic Age in the LR social holon?
 
There are many indicators that suggest that this next age is already unfolding, as information technologies and networks evolve into convergent technologies, networks, and systems. Terminologies like convergence media appliances, virtual reality, immersive environments, avatars, embedded technologies, and augmented realities are swirling around in the information soup. Entertainment streams across multiple delivery platforms into our theaters, homes, cars, computer screens, phones, gaming consoles, and even through digital walls in the architectural and social spaces around us. The movie Avatar immerses us in its world through immersive IMAX 3D technology telling us a story about becoming technologically immersed in another body and reality. Gamers take on virtual personas and play each other in living rooms and on cell phones across the globe. On other technology fronts, human and natural realities are converging as well, from genetic modification to hybrid and nanotechnologies. We ride around in hybrid vehicles, eat genetically modified foods, wear nanotech clothing, attend virtual concerts, purchase goods and services in a virtual economy, and communicate with each other through phones that are also computers, radios, televisions, and global positioning devices.
 
One of the first observers of the convergence trend in media technologies was MIT political scientist Ithiel de Sola Pool who noted an emerging media convergence process that he called the “convergence of modes” in which the lines between media platforms are blurred and “the one-to-one relationship between a medium and its use” is eroded (Pool, 1983, p.23).
 
American media scholar Henry Jenkins extended this work through his observations of a co-evolutionary trend between convergence media socio-techno-economic forces (LR) and what he calls convergence culture (LL), noting that “convergence does not occur through media appliances, however sophisticated they become. Convergence occurs within the brains of the individual consumers and through their social interactions with others” (Jenkins, 2008, p.3). This new convergence culture is made up of individuals and social networks that engage with and integrate dispersed media content into meaningful wholes. Jenkins notes that this co-evolving techno-cultural movement appears to be ushering in an “…era of media convergence, collective intelligence, and participatory culture” (Jenkins, 2008, p.170).
 
Another hallmark of this Convergence Age is the increased capacity for embodied “perspective-taking.” Whereas the Information Age gave us a multitude of information and information sources, the Convergence Age portends to offer us the capacity to take on a multitude of perceptions and worldviews, one of the essential qualities of the Integral perspective.
 
Both Pool and Jenkins note that the capacity to navigate this rapidly evolving and convergent environment is incredibly complex and challenging. If this trend is indeed the co-evolutionary movement in an Integral-Convergence Age, then the Integral worldview would be the most appropriate level of consciousness for fully comprehending and mastering this unfolding era.
 
One of the coming major tipping points in the emergence of this Convergence Age will most likely be the widespread disbursement of high speed and high bandwidth communication networks advanced enough to fully handle immersive, embedded, and virtual realties. While this technology already exists, its widespread dispersion is dependent on various political and financial constraints…so this tipping point in the technological and communication domains can occur very soon or take many years to actually reach its evolutionary moment. Google’s recent announcement of their intention to bring this type of widespread and advanced networking technology to the world is an indicator that there is indeed movement toward this particular tipping point.
 
Wilber notes that as we evolve up the evolutionary ladder, greater depth and span also brings greater challenges and potential dangers (Wilber, 2003). This new Convergence Age also ushers in the potential threat of nano-viruses, genetic mutation, the erosion of direct human contact social structures, and many other new challenges.
 
Many of these threats come from the potential misuse of these higher technologies by individuals and cultures operating at a lower worldview. History is full of horrific examples of this mismatch between consciousness and technology, from the holocaust to the potential for nuclear terrorism. The complex and often push and pull co-evolution of consciousness and technology is interestingly reflected in the film Avatar, which appears to be a convergence technology movie with a Pluralistic worldview center-of-gravity, telling a story about the use and abuse of convergence technologies by a dysfunctional mythic-rational human culture against an idyllic (Pre/Trans) magic-mythic alien culture.
 
As with all evolutionary movements, there is great challenge and also great potential. As one nanotechnology futurist website proclaims… “We are approaching an evolutionary event horizon, where the organic and the synthetic, the virtual and the ‘real’, are merging together into an operational ecology, an existence morphology for which there is no precedent in the history of which we are currently aware” (www.historianofthefuture.com).
 
 
REFERENCES
 
Henry Jenkins (2008). Convergence Culture: Where Old and New Media Collide. New York: NYU Press.
 
Ithiel de Sola Pool (1983). Technologies of Freedom: On Free Speech in an Electronic Age. Cambridge, Mass.: Harvard University Press.
 
Ken Wilber (2003). Volume 2 of the Kosmos Trilogy: Excerpts A, B, C, D, and G. Available at: http://wilber.shambhala.com/html/books/kosmos/index.cfm/
 

 



Hollywood and the Integral Tipping Point

Posted December 17th, 2009 | 21 Comments

 

Hollywood is currently in a state of panic. While box office attendance is up, DVD sales have fallen through the floor and the traditional market streams and financial indicators are in a state of flux. To more clearly understand this situation I chose to look at four developmental lines in the social holon of the current American motion picture industry. The four lines I chose are the Techno-Economic Base (T-E), Business/Markets (B/M), Communication/Media (C/M), and Artistic/Aesthetic (A/A) lines of development. I used a scale of 1 to 10, with 1 being the lowest level of development and 10 being the highest. These numbers correlate to the first 10 altitudes of consciousness of Ken Wilber’s spectrum of worldviews, with 1 representing Infrared/Archaic and 10 representing Violet/Super-Integral Level 2 (Wilber, Pattern, Leonard, & Morelli, 2008, p. 90). 

Reflecting on the current state of the industry, it seems to me that the Techno-Economic Base (T-E) of the industry is shifting from level 6 (Green/Pluralistic/Informational) to level 7 (Teal/Integral Systems/Trans-Informational or Virtual). This shift appears to be driven/co-created by a transition from separate/pluralistic media technologies and platforms (i.e.: Movies, TV, Gaming, Web, etc.) to more integrated, cross-media, and virtual technologies and platforms (i.e.: Material delivered/integrated across multiple convergent, immersive, and embedded mediums), represented by a shift from level 6 to level 7 in the Communication/Media (C/M) developmental line. As the nature of the medium is shifting, cinematic media artists are embracing these advances as a means to expand their artistic expression across these multiple platform environments. This in turn is shifting the Artistic/Aesthetic (A/A) line from level 6 to level 7 as well. While these three lines appear to be shifting in tandem, it also appears that the Business/Markets (B/M) line is stuck at level 5 (Orange/Rational), as the industry’s business community frantically tries to apply their old models of finance, distribution, and marketing to the emerging new techno-creative-communication environment (see chart below).

There are indicators of some potential shifts in the Business/Markets (B/M) line, including a major restructuring of Disney’s studio model to meet the changing media environment and the release of James Cameron’s Avatar, which appears to be attempting to cross the integral media threshold by offering content immersion (IMAX 3D), platform convergence (Theatrical/Game simultaneous release), and a foray into virtual aperspectivalism (Character-to-Avatar perspective shifts). It should be interesting to see if these forays will be part of a vertical rather than horizontal change. Either way, I believe the industry is poised at the edge of a tipping point between the relativistic/information age and the approaching integral/virtual age. Only time will tell if the American film industry will cross this threshold through a single major shift, or several smaller transitions, or a combination of both major and minor shifts, or if it will be a turbulent or peaceful transition. Since several members of the industry have already begun downloading the Integral Operating System (IOS) into their consciousness, I think we are in for a wondrous and wild ride.

 
References
 
Wilber, K., Pattern, T., Leonard, A., & Morelli, M. (2008). Integral life practice: A 21st century blueprint for physical health, emotional balance, mental clarity, and spiritual awakening. Boston: Shambhala.
 
 
 
American Motion Picture Industry Social Holon Sociograph
 

T-E = Techno-Economic Base
C/M = Communication/Media
A/A = Artistic/Aesthetic
B/M = Business/Markets
 

 



The Co-Evolution of Cinematic Expression and Audience Perception

Posted November 20th, 2009 | 2 Comments

One of the most memorable days of my life was when motion picture director and editor Robert Wise spent the afternoon with me going over the rough cut of one of my films. As Bob went through every cut with me and shared his wisdom I kept thinking to myself “My God, the man who edited Citizen Kane (1941) is helping me edit my film!” I learned so much from Bob that day, both about filmmaking and about life. One of these “Wise” lessons was his sharing with me his perceptions about a possible connection between the evolution of consciousness and the evolution of the cinema.
 
Over his illustrious 60-year career, Bob observed that the perceptual consciousness of the cinematic audience appeared to advance along with the cinema in the ability to communicate more information, in more abstract forms, within shorter durations of time. He explained that when he first started in the film industry the motion picture audiences required very clear linear story structures, and that gradually throughout his career, the audiences seemed to develop the ability to more readily and quickly project meaning across discontinuous and non-linear cinematic structures.
 
To illustrate one aspect of this evolution, Bob used the example of a cinematic sequence that has a character driving to another character’s house for a meeting. In the old days filmmakers had to show the person driving the car, stopping the car, getting out of the car, walking up to the house, knocking on the door, and then going inside. Gradually over time, the audience has advanced to the point of being able to accept a direct cut from a person driving a car to them suddenly being inside someone’s house. Wise believed that these advancements in both cinematic expression and the perceptual consciousness of the cinematic audience were the product of an interdependent and co-evolutionary relationship between the cinema and the audience. This observation appears to concur with Jean Gebser’s (1986) contention that artistic movements and trends have a tendency to influence and be affected by the evolution of consciousness.
 
At the end of our time together, Bob was called away quickly, but before he left the editing room, he paused to compliment my work and then sweetly and genuinely said, “I hope I helped you a little bit…” Of course, I profusely thanked him and sincerely assured him that his help was beyond measure. As Bob walked off, I thought about his last words to me and felt a mysterious shift inside me. In that brief moment, it seemed as though I had received a kind of shaktipat, or life-lesson-energetic-transmission, from this amazing man. After all the awards, honors and accolades, Bob Wise was still a sweet and deeply humble human being, and his living presence and example penetrated me in ways I still cannot describe. I will never forget that moment, and every moment I was blessed by his presence. In my heart and mind, I believe Bob Wise was a true Cinematic Bodhisattva.
 
 
Gebser, J. (1985). The ever-present origin (N. Barstad & A. Mickuns, Trans.). Athens, Ohio: Ohio University Press. (Original work published 1949)
 
Image: Citizen Kane (1941)
 
 
 

 



Star Wars and the Tetra-Evolution of American Cinema

Posted November 4th, 2009 | 4 Comments

During my studies into the application of Integral Theory to cinematic media, I attempted to look at an evolutionary or unfolding display moment in Hollywood filmmaking history through the lens of the three Integral Methodological Pluralism (IMP) principles of Nonexclusion, Unfoldment, and Enactment. The evolutionary moment in Hollywood filmmaking history I chose was the making of the first Star Wars (1977). A film that, according to most members of the various Hollywood knowledge communities, revolutionized the creative, technical, business, and critical evaluation aspects of the industry.
 
These areas of advancement represents the four general knowledge communities within the world of Hollywood movie making, each with their own, often conflicting, paradigms/practices/injunctions and constructs of what makes a “good” movie. There is the Cinematic Artists Community, which tends to view the goodness or success of the cinematic work by how much of the artist’s subjective vision (UL) is translated onto the screen. There is the Cinematic Technicians Community, which evaluates the degree of technical/material/objective (UR) quality of the cinematic work. There is the Cinematic Business Community, which appraises the success of the cinematic work by its market reach and profitability within the economic system (LR). Finally, there is the Cinematic Analytical Community (Critics, Historians, Theorists), which evaluates the quality of the cinematic work by the contextual effectiveness of its cinematic language (LL).
 
Conflicts often arise between these communities, and their seemingly contrary social practices/injunctions and the constructs generated by them. In the case of the first Star Wars (1977), the Cinematic Business Community (every studio) turned down the script at least once, even though many of the executives personally loved it (UL). The reasoning behind their choice was that their marketing models (LR) clearly showed that a science fiction film could not be profitable. What they failed to see was that George Lucas had crafted a cinematic vision that would ultimately transform the paradigms and constructs of all four knowledge communities (see below).
 
Finally, one of the executives at 20th Century Fox, Alan Ladd, Jr., was able to join Lucas in ENACTING a different world by seeing the other dimensions of Lucas’ work (taking a leap of NONEXCLUSION), and by heroically putting his job on the line for the script (George Lucas, personal communication, 1978). In the end, the film shattered box office records, transformed Hollywood’s marketing models; saved Fox from bankruptcy, and gave Ladd and Lucas their own companies (LR). It created a new genre (trans-genre) within the cinematic lexicon (LL) by including many different genres (Science Fiction, Westerns, War Movies, Mythical Adventures, etc.) into a cohesive blend that transcended all of them (UNFOLDMENT). Stars Wars also helped usher in the return of mythology to American cinema and American culture (LL) by blending mythological archetypes with modern and postmodern story and thematic elements. Lucas and his technical team also managed to advance cinematic technology (UR), making it easier to translate the creative visions of cinematic artists (UL). The effect of Star Wars’ genre hybridization, techno-creative advancements, and rebirthing of mythic cinema on the cinematic audience was something the traditional business and marketing models could not prehend (LR).
 
 
For additional reflections on the elements and conditions which made Star Wars such a unique and profound phenomenon, see my previous post and comments: My Cinematic Structuralism Emancipation

 

 

 



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