Four years after Douglas Engelbart (1925 – 2013) invented the computer mouse, he sat down to demonstrate it to 1,000 of his closest friends. Because he was from Oregon, and thinking this way comes naturally to us, he made sure his 90 minute presentation was captured on video.

From his NY Times obituary:

For the event he sat on stage in front of a mouse, a keyboard and other controls and projected the computer display on a 22-foot-high video screen behind him. In little more than an hour he showed how a networked, interactive computing system would allow information to be shared rapidly among collaborating scientists. He demonstrated how a mouse, which he had invented just four years earlier, could be used to control a computer. He demonstrated text editing, video conferencing, hypertext and windowing.

You can see the entire presentation on Youtube. Here’s the Youtube description.

On December 9, 1968, Douglas C. Engelbart and the group of 17 researchers working with him in the Augmentation Research Center at Stanford Research Institute in Menlo Park, CA, presented a 90-minute live public demonstration of the online system, NLS, they had been working on since 1962. The public presentation was a session in the of the Fall Joint Computer Conference held at the Convention Center in San Francisco, and it was attended by about 1,000 computer professionals. This was the public debut of the computer mouse. But the mouse was only one of many innovations demonstrated that day, including hypertext, object addressing and dynamic file linking, as well as shared-screen collaboration involving two persons at different sites communicating over a network with audio and video interface.

I hereby claim Douglas Engelbart: The Mother Of All Demos as an Oregon film, on the basis of Oregonian Douglas Engelbart’s contribution as producer, director, writer and star.

The first person to tell me about Oregon filmmaker James Blue was James Ivory.

Then Penny Allen told me that James Blue was the first Oregonian to take a film to Cannes. Blue was awarded the Critics Prize at Cannes  in 1962 for his first feature length film, The Olive Trees Of Justice.

I don’t know much about Blue! He grew up in Portland and graduated from University of Oregon in 1953.

Richard Engeman did a little sleuthing:

The Oregonian reported on February 1, 1953, that James Blue was starring in “Death of a Salesman” at U. of O, where he was a senior in speech. Earlier, on October 14, 1951, he was noted as the chief carpenter for a U. of O. production of “The Madwoman of Chaillot. He also won the Oregon State Broadcasters outstanding performance award, give at the U. of O. May 14, 1953 (Oregonian, May 15). There are a number of Oregonian pieces about, or mentioning him, 1962-1980. He’s buried in Willamette National Cemetery.

The Olive Trees Of Justice, Blue’s only narrative film, was based on the novel of the same name by Algerian novelist Jean Pelegri. It was shot in Algiers, with Pelegri playing a leading role in a cast of non-professional actors. The score is by Maurice Jarre.

Here’s a description from TCM.

Jean, a young Frenchman born and reared in Algiers, returns to his native land from Paris to be with his dying father. It is during the Algerian war of independence, and as Jean sits at his father’s bedside, he recalls his happy childhood in the family vineyards, where he played with French and Arab friends. Later he walks through the strife-torn Algerian streets and feels the terrible presence of war. One day his father dies peacefully in his sleep, and relatives and friends, both French and Arab, come to pay their respects. Jean has a long discussion with an Arab friend and attempts to explain why he must return to the peaceful life he has made for himself in Paris. After his father’s funeral Jean sees his normally chauvinistic aunt hasten to help an Arab boy who has been struck by a passing truck. Moved by this genuine expression of human concern regardless of nationality, Jean decides to remain in Algeria.

James Blue was born in 1930 in Tulsa, Oklahoma. He arrived with his family in Portland in 1942. He was nominated for an Oscar in 1969. He died in 1980.

I hereby claim  The Olive Trees Of Justice as an Oregon film, on the basis of James Blue’s contribution as director.

Everyone read An Introduction to the American Underground Film: A Unique, Fully Illustrated Handbook To The Art Of Underground Film And Their Makers when it came out in 1967. Everyone. It covers the work of Maya Deren, Kenneth Anger in Los Angeles; James Broughton, Bruce Conner in San Francisco; Harry Smith, Jonas Mekas, Andy Warhol and the Kuchar Brothers in New York, among others.

Its author? Oregonian Sheldon Renan.

Sheldon told me that when he was in high school, there were only three hip people in all Oregon City. He was one, and Walt Curtis was the other. I am dying to know who the third was. Sheldon went off to Yale, Walt to PSU. Both men made foundational contributions to independent filmmaking in Oregon.

Walt did this by writing Mala Noche, the novella on which Gus Van Sant based his first feature.

Sheldon did this by writing the first National Endowment for the Arts proposal for a network of regional film centers, launching the process which led to the formation of the Northwest Film Center.

Subtract Gus Van Sant and the NWFC from Portland’s current film scene, and you can see how large the contributions of these two Oregon City beatniks were.

Was Sheldon the first person to write a guide to American underground filmmaking? I believe he was.

Sheldon has returned to Oregon and continues to be hopelessly hip. The simplicity of his insight, “Devices can be small on the outside, but large on the inside”, provides the clinching argument for cyber anthropologist Amber Case’s description of Liquid Modernity.