Towards an Integral Cinema
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A historical, theoretical, and viewing analysis is offered of Germaine Dulac’s “integral cinema movement” of the 1920s, suggesting an early introduction of Integral consciousness into cinematic media that corresponds to and predates both Jean Gebser’s and Ken Wilber’s Integral Theories. Defining characteristics of what may constitute an integral cinematic work are mapped out and developed into a set of evaluation criteria using the works of Dulac, Gebser, and Wilber. A preliminary typology of forms of Integral cinematic creation is also presented, and the potential benefits and challenges for the application of Integral Theory to cinematic theory and practice are discussed.