The Transpersonal Cinema Project is now on IndieGoGo at: http://www.indiegogo.com/transpersonalcinemaproject
Once complete, the TCP IndieGoGo site will act as a project funding, promotion, and social networking hub for those interested in supporting and/or participating in The Transpersonal Cinema Project.
Renowned Russian filmmaker and film theory pioneer Sergei Eisenstein (1898-1948) postulated that the unique nature of the cinema produces a holistic and transcendent "synchronization of the senses" through the "integration of word, image and sound, and the accumulation of successive images and sounds [that serve] to construct perception, meaning, and emotion". After years of cinematic experimentation and "a thorough analysis of the nature of audiovisual phenomena," Eisenstein believed that the conscious manipulation of this sensory synchronization could allow the filmmaker to converse with his or her audience on higher, deeper, and subtler levels of communication by more closely replicating the multidimensional sensory stimulation of actual lived experience.
An example of the power of this consciously controlled sensory synchronization can be found in the film Chariots of Fire (1981). In this British cinema classic, the filmmakers combine the images and sounds of the experience of running with an emotionally expressive musical score to viscerally communicate the peak experience of running. When this synchronization of image, sound, and music integrates with the film’s plot, performances, and dialogue, the audience is able to experience the ephemeral and transformative emotions involved in the physical and spiritual struggle for glory.
All through my childhood, I struggled with finding a way to communicate with others. My stutter made verbal communication difficult and emotionally painful, and I searched for others ways of expressing myself. I began to draw at an earlier age, studying at the Art Institute of Chicago between the ages of nine and eleven. Gradually expanding into painting, still photography, and architectural design, I received numerous awards for my work. When I was sixteen I took a film class in high school. I teamed up with a friend, and we made a super 8 film together for our final project (Progress, 1974). I loved creating the film, and felt a sense of joy and purpose. When we showed the film in class, people laughed and cried. I felt a chill shoot up and down my spine as the flickering light and dancing celluloid images touched the hearts and minds of others. Time appeared to stand still, and I experienced a feeling of deep connection with everyone in the room. I also had a sense of great mystery, as though I had become a channel for something greater than myself. Suddenly, I knew that this was my path, my gift, my calling.
The Transpersonal Cinema Project website launched at http://www.transpersonalcinema.com/
The Transpersonal Cinema Project is a groundbreaking research and production initiative seeking to investigate and advance these powerful transformational potentials of the cinema by integrating the latest theories, practices, and technologies of cinematic media, creativity, human perception, and consciousness.
"For the moment, look at cinema as a mystery religion. One enters the darkened place and joins the silent congregation. Then comes the beam of light out of the shadows: the Projector, the Great Projector up there behind us! Turn out the little lights so that the big light can penetrate the darkness! Ah, behold the unreeling of the real reality of practically everything: our dreams, our idiocies and raptures, our nativity, passion and death."
- James Broughton (Seeing the Light, 1986)
The Transpersonal Cinema Project
YouTube Channel (Beta) is up and running at: