Police face off against antiwar demonstrators in The Seventh Day, a 1970 documentary shot by Portland State University students.

A long list of American filmmakers have chosen The City as a subject in documentaries, educational films, and narrative features. The following list is of films about The City which have an Oregon connection.

This list includes both fiction and non-fiction films. It is NOT comprehensive!

The Boy Mayor 1914, directed by Henry McRae. Starring teenager Eugene J. Rich, Portland’s real Boy Mayor. The fictional plot line depicts the “clean up the streets” motive behind the Boy Mayor campaign. Restored by National Film Preservation Foundation, thanks to Michele Kribs, Oregon Historical Society’s film archivist. Shot in Los Angeles.

Dementia 1953, retitled Daughter of Horror 1955, directed by John Parker, Jr.  The City is a moody, expressionist dreamscape in this combination art film/horror film made by the son of Portland theater chain owner, J. J. Parker. Score by George Antheil. Shot in Los Angeles.

Portland Expose 1957, directed by Harold Schuster. Exploitation film, based on real events. The plot line had to be fictionalized so it could be believed. In real life, it was a well known crime boss, not an upstanding small businessman, who blew the whistle on the corrupt union leader who was muscling in on his vice world territory. Shot in Portland.

The Olive Trees Of Justice 1962, directed by James Blue. Banks of barbed wire surround buildings, police are everywhere, bombs go off, tanks roll by, and yet somehow everyday life still goes on.  A young French colonialist tries to locate his childhood friends, and his own identity, in the middle of the chaos. Shot in Algiers.

The Seventh Day 1970, directed by students at PSU’s Center For The Moving Image. Documentary coverage of an anti-war demonstration which erupts into violence. Made by Tjeck Dusseldorp, with Charles Auch and future music video superstar Jim Blashfield. Shot in Portland.

We Are The City 1972, directed by Tom Chamberlin. Portland is never named in this educational film, made for Encyclopedia Britannica. Includes Mayor Terry Shrunk and Neil Goldschimdt (another Boy Mayor, but at that time still a City Councilman). The footage is 95% Portland.

The Case Of The Kitchen Killer 1976, directed by Tim Smith. Self taught 16mm filmmaker’s black comedy uses Portland locations sensitively. Smith was just out of high school when he made this film. The hand of crew member Matt Groening makes a cameo appearance holding a murder weapon. Ben Padrow provides the voice over narration. Shot in Portland.

Who Killed The Fourth Ward? (1976-77) and The Invisible City: Houston Housing Crisis (1978-79), directed by James Blue. Oregon’s first Oscar nominee focused on urban housing conditions for his two longest docs, made for Houston public television. Shot in Houston.

Property 1978, directed by Penny Allen. Eight Portland friends respond to gentrification by deciding to band together to buy a house in their Lair Hill neighborhood. Not a documentary, but inspired by real life events, with some of the participants in the real events joining the cast, playing themselves. Cinematography by Eric Ericson, sound by Gus Van Sant. Shot in Portland.

Talk Radio 1988, directed by Oliver Stone. Based on a play written by Portland artist Tad Savinar and New York actor Eric Bogosian. The play is about urban discontent, but the real reason this film is on this list is that Tad Savinar became one of Portland’s most important urban planners. Shot in Dallas.

Drugstore Cowboy 1989, directed by Gus Van Sant. The fictionalized memoir of a real life felon provides a portrait of a city. Shot as a period piece, set in the 1970’s. Starring Matt Dillon, Kelly Lynch and William Burroughs. Van Sant’s ascension to stardom branded Portland as an indie capital. Shot in Portland.

Alien Boy 2012, directed by Brian Lindstrom. Documentary examining the death of James Chasse, Jr., a man with severe and persistent mental illness who was arrested for running away from Portland police, and who died in their custody. Shot in Portland.

It has been quite a year for Oregon film history buffs!

Oregon used to confine its film history love to an annual celebration of The Goonies in Astoria.

But in the past year……

Katherine Wilson made Animal House of Blues (2012)

Allison Elwood & Alex Gibney made Magic Trip: Ken Kesey’s Search for a Kool Place (2011)

Alexia Anastasio made Adventures In Plymptoons: A documentary on the art and animation of Bill Plympton (2011)

Umatilla County Historical Society screened Nicholas Ray’s The Lusty Men (1952)

Deschutes County Historical Society screened Jacques Tourneur’s Canyon Passage (1946)

Clinton Street Theater screened Don Zavin’s Fast Break (1977)

Oregon Cartoon Institute screened Lew Cook’s The Little Baker (c. 1925)

Brian McWhorter composed and performed a new score for Ed’s Coed (1929)

John Paul plans to tour, conducting his original chamber orchestra score for F. W. Murnau’s City Girl (1930)

Matt McCormick re-issued the Peripheral Produce AUTO-CINEMATIC Video Mix Tape (1996) on DVD

Miranda July saluted her Peripheral Produce days with a Portland-centric screening at the Hollywood

David Walker lectured on Portland’s B Movies

Oregon Cartoon Institute brought Robert Johnston to lecture on Mel Blanc’s Portland

Matt Love wrote Sometimes A Great Movie

Dan Fiebiger wrote a history of Oregon filmmaker Tom Shaw

Bill Plympton wrote Independently Animated: Bill Plympton: The Life and Art of the King of the Indies

Anne Richardson presented Oregon Goes To The Oscars at Oregon Historical Society

Ken Nolley hosted a One Flew Over The Cuckoo’s Nest (1975) retrospective in Salem

Northwest Film Center hosted mini-retrospectives of Will Vinton, Joanna Priestley, Chel White, Lawrence Johnson, Kelley Baker, Ron Finne (with Jim Blashfield upcoming ) at the Whitsell Auditorium

Anne Richardson introduced the Dill Pickle Club’s Portland film lecture series with David Walker, David Cress, Walt Curtis, Shawn Levy, Jim Blashfield, Brooke Jacobson, Matt McCormick, Joanna Priestley, Joan Gratz, Rose Bond, Tom Robinson, Tom Chamberlin, Dennis Nyback.

Michele Kribs secured National Film Preservation Board protection for The Boy Mayor (1914)

Mary Erickson’s University of Oregon dissertation on independent filmmaking in the Pacific Northwest went online

Heather Petrocelli completed her masters thesis about the Center For The Moving Image at PSU

Lucy Burningham wrote about Oregon film history in the Bend based magazine 1859

Stan Hall wrote about Oregon film history in OMPA’s annual directory

And tomorrow, Portland Monthly’s November 2012 issue hits the stands with an article by yours truly, Anne Richardson, about Portland’s history of  independent filmmaking.

SCORECARD:

Number of new films: 3

Number of new books: 2

Number of new scores to silent films:  2

Number of articles:  3

Number of academic papers: 2

Number of public lectures: 15

Number of retrospectives: 9

Number of public screenings of historic films: 4

Number of films permanently protected by the Library of Congress: 1

Portrait of Matt by Andrew Kosinski, at DINCA.org.

Oregon Cartoon Institute is holding its second public meeting on Sunday, Feb. 12, at 2:00 PM at 5th Avenue Cinema.

All friends and fans of Oregon Cartoon Institute are invited. If you think you might belong to this group, you do.

The agenda includes a brief introduction to the all volunteer Institute, and a discussion of what is up next. We’ll have announcements from the Mel Blanc Project and the Homer Davenport Project, some proposals to consider, and some hand outs to take home.

Reminder: last time the Institute met, Dennis Nyback supplied home made refreshments.

This year our featured attraction is a rare screening of The Little Baker, a stop motion animation short by early Portland filmmaker Lewis Clark Cook (1909 – 1983). We will also screen a ten-minute profile of Cook, made for OPB in the early 1980’s by Portland artist Jim Blashfield.

Michele Kribs, who was trained by Cook to succeed him as head of Oregon Historical Society’s Moving Image Archive, will be in attendance.

In the photo above, use of which was generously made possible by the Oregon Historical Society, Lew Cook is 15 years old. That is his own 35mm camera. A doting aunt, knowing that he was in love with the movies, bought it for him. He quit selling newspapers and went to work as a newsreel photographer.

Top Four Reasons You Might Want To See The Little Baker:

4. Cook made his living as an independent filmmaker using more tricks than you can imagine. Just as Bill Plympton turned down Disney, Lew Cook turned down Warner Brothers. He chose independence. Besides Plympton, the other Portland filmmakers who followed Cook’s lead include Homer Groening, Will Vinton, Joan Gratz, Jim Blashfield, Gus Van Sant, Rose Bond and  Joanna Priestley.

3. The Little Baker was made “in the 1920’s” which means Cook could have made it anywhere between age 11 and age 20. Come help us sleuth out clues as to whether this is the work of a hard working child or an uninhibited adult.

2.  No one else you know has seen this film.

1. Although you may think The Little Baker inspired Will Vinton to consider clay animation, what actually happened was that Will saw it after he had made his start with Closed Mondays. Nevertheless, there is some powerful history here. Who knows what it will inspire you to do!

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This event is a partnership between Oregon Cartoon Institute, Oregon Historical Society and 5th Avenue Cinema.

Thank you to Kerry Tymchuk, Michele Kribs and Scott Rook of Oregon Historical Society.

Thank you to Heather Petrocelli of 5th Avenue Cinema and PSU’s Public History Interest Group.

Pittsburgh has George Romero, Baltimore has John Waters, and Boulder has the memory of Stan Brakhage.

Portland has Gus Van Sant, Bill Plympton, Matt Groening, Mike Richardson, Jon Raymond, Aaron Katz, Chel White, Jacob & Arnold Pander, James Westby, Jim Blashfield, Joan Gratz, Joanna Priestley, Matt McCormick, Rose Bond, Vanessa Renwick and Will Vinton.

Ever wonder why?

For cities wishing to replicate Portland’s densely populated cinematic scene, here’s a handy “how to” guide.

1.  Start early.

As soon as people were making films in New York and Fort Lee, they were making them in Portland. Portland’s first film studio, American Lifeograph, opened in 1910. That’s the same year movies came to Hollywood.

2. Have a show business friendly mayor.

During the 16 year tenure of theater-owner-turned-mayor George Baker, downtown Portland was wall to wall theaters. John Gilbert, Clark Gable, William Powell, Edward Everett Horton and Eugene Pallette are some of the actors who jumpstarted their acting careers on the Portland stage, some of them in Baker’s own stock company. It was Baker who renamed Seventh Avenue “Broadway”.

3. Support innovation.

Oregon’s oldest source of print media, The Oregonian, responded to the puzzling new medium of radio by setting up a station, KGW, right in their own building, the Oregonian Tower. Radio later served as an Early Warning System to identify the talent of Portlanders-gone-Hollywood Mel Blanc, Suzanne Burce (renamed Jane Powell by MGM) and Johnnie Ray.

4. Grow your own film processing lab.

After WWII, Portland inventor Frank Hood went to work for a brand new electronics firm (originally conceived as a radio supply store) named Tektronix. He processed films he made for them, after losing patience with the delays of sending films to out of town labs. Eventually, he went into business as Teknifilm Lab. A filmmaker himself, he acted as teacher and mentor to customers. More important to the development of independent filmmaking in Portland:  Hood’s lax attitude toward payment schedules, which subsidized generations of Oregon artists working in film.

5. Provide a home for an exiled Hollywood film scholar.

Andries Deinum came to Portland during the blacklist. His vision of film as a mode of social discourse laid the groundwork for PSU’s Center For The Moving Image, housed in Lincoln Hall. Jim Blashfield, Bill Plympton, and Matt Groening were among the faithful attendees of the Center’s influential screening series, run by the Portland State Film Committee.

6. Provide a day job for the guy who wants to mentor the guy who wants to revive the archaic art form of stop motion animation.

Homer Groening led a dual life – ad man by day and experimental filmmaker by night. He had a family, a home, and his own business doing what he loved – and he did it all without leaving Portland. Aspiring filmmaker Will Vinton paid attention, and followed suit. His career, like Groening’s, would encompass both television commercials and art house films, but on a much larger scale.

7. Work with, not against, a pair of cinema addled students who want to start a regional film center.

When Sheldon Renan succeeded in persuading National Endowment for the Arts to seed regional filmmaking, they went looking for the right person to submit a grant for a film center in Portland. They were pointed to Brooke Jacobson and Bob Summers, members of the Portland State Film Committee. Brooke and Bob wrote the grant, Portland Art Museum acted as fiscal sponsor, and the Northwest Film Center went into business. This year marks its 40th anniversary.

8. Work with, not against, a visionary film preservationist who wants to create a moving image archive.

Lew Cook was trained as a newsreel photographer by the first generation of Portland filmmakers. His stop motion film, The Little Baker, made circa 1925, proved prophetic when it came to Portland’s future claim to cinema history. He and Thomas Vaughn conceived Oregon Historical Society’s moving image archive, and Cook personally trained the preservationist, Michele Kribs, who currently presides over it.

To re-cap: by the end of the 1970’s, Portland had a film program at Portland State University, a film archive at Oregon Historical Society, and a regional film festival (now the NWFF) located at Portland Art Museum. That nucleus of film creativity on the park blocks was balanced by a film processing lab, an emerging animation studio, and a warehouse waiting to be filled with  filmmakers’ offices over in northwest Portland. No one entity owned the scene – the infrastructure and the support system served all comers.

The following timeline concentrates on factors which contributed to a culture where independent filmmakers supported each other in Portland. It does not address the important role played by Hollywood productions shooting in Oregon. The symbiotic role of Hollywood and the Indies in Portland is embodied in the career of Gus Van Sant who slips and slides with ease between these two worlds.

A timeline:

American Lifeograph founded 1910

Lewis Moomaw makes The Chechacos 1924

Lew Cook makes The Little Baker c1925

PGE makes It Can Be Done c1936

Tektronix founded 1946

Frank Hood founds Teknifilm Lab, early 1950’s

Andries Deinum arrives 1957

Homer Groening starts his own ad agency 1958

Center For The Moving Image founded 1965

Bob Summers and Brooke Jacobson found Northwest Film Center 197o, with a push from Sheldon Renan

Tim Smith and Matt Groening make Drugs: Killers or Dillers 1972

Ron Finne, Tom Taylor and Brooke Jacobson found Northwest Media Project 1974

Will Vinton and Bob Gardiner make Closed Mondays 1974

Don Zavin makes Fast Break 1977

Penny Allen makes Property 1977

Rose Bond makes Gaia’s Dream 1982

Gus Van Sant makes Mala Noche 1985

Bill Plympton makes Your Face 1987

Matt Groening makes The Simpsons 1987

Jim Blashfield makes Leave Me Alone 1988

Joan Gratz makes Mona Lisa Descending A Staircase 1992

Gus Van Sant makes Good Will Hunting 1997.

Vanessa Renwick makes The Yodeling Lesson 1998

Miranda July makes The Amateurist 1998

Chris Eyre makes Smoke Signals 1998

Will Vinton makes The PJ’s 1999

Travis Knight makes Coraline 2009

Jon Raymond writes & Neil Kopp produces Meek’s Cutoff 2010, one of five Oregon films at Sundance in 2011.

This post is dedicated to Portland filmmaker/film writer David Walker, who inspired it by raising the question “how rare is regional filmmaking, anyway?”

Mayor Sam Adams added to his collection of original portraits of Portland filmmakers last week, unveiling a brand new painting of Todd Haynes by Jasper Marks.

City Hall custodians grumbled about the amount of work they face – Portland’s active film scene means the entire wall will soon be filled. The Mayor did not announce whether Marks, who moonlights in another profession under the name Steven Cohn, would be asked to paint the entire series. Some people believe Arnold Pander may be approached to help out.

Here are the names of some of the directors who, taken in conglomerate, represent Portland’s cinematic wealth:

Aaron Katz

Brian Lindstrom

Chel White

David Weissman

Donal Mosher

Gus Van Sant

Irene Taylor Brodsky

Jacob & Arnold Pander

James Westby

Jim Blashfield

Joan Gratz

Joanna Priestley

Lance Bangs

Larry Johnson

Marilyn Zornado

Matt McCormick

Michael Palmieri

Mike Shiley

Peter D. Richardson

Rose Bond

Sue Arbuthnot

Vanessa Renwick

Will Vinton

It is because Sam Adams is only Mayor of Portland, and not Governor of the State of Oregon that the following filmmakers will escape inclusion on his Hall of Fame:

Alex Cox

Bruce Campbell

Bill Plympton

Chris Eyre

Matthew Lessner

James Ivory

James Longley

Shelley Jordon

Susan Saladoff

Basil Wolverton displays his pioneering “spaghetti and meatballs” approach to human anatomy.

As Oregon Cartoon Institute heads into its fourth year, I sat down to retrace the steps that led to its creation.

This timeline of development was originally written for Jill Hartz, at the Jordan Schnitzer Museum of Art. Thank you, Jill, for providing me with the impetus to pull this together!

1990’s in New York

As I fly back and forth between Portland and New York, I begin noticing the way Oregon press underplays the fame of Oregon’s most well received artists (Chuck Palahniuk a great example ) while at the same time New York press omits the Oregon citizenship of an artist all together. I begin to understand the way this has created a misperception that Oregon does not produce artists.

At about this same time Columbia sportswear begins showing up on the subways. The Simpsons are becoming a cultural mainstay. Elliott Smith, the Dandy Warhols, Courtney Love, Gus Van Sant — I start to feel  surrounded by Portland even when I am 3,000 miles away.

1999 visiting Portland

David Chelsea tells me about Basil Wolverton.

I knew about Homer Davenport, the Hearst newspaper cartoonist from Silverton.

I’d heard about Mel Blanc, Portland’s most reknowned voice artist.

But I am stupefied by Wolverton. How could a guy from Central Point (pop: 12,000)  influence an entire generation of  Americans? And do it via Mad Magazine ?

A seed starts to sprout in my mind.

2001, in Portland

Dennis Nyback and I teach an avant garde film survey course at Northwest Film Center. Preparing for it, I discover avant garde animator Harry Smith was born in Portland.

Smith was both the disciplined, insightful, completely original collector behind Folkways’ enormously influential Anthology of American Folk Music and a self taught, extravagantly experimental, completely original filmmaker. I never dreamt he had anything to do with Oregon.

In my previous understanding, Oregon rarely produced nationally known artists.

Now with Harry “High Brow” Smith and Basil “Low Brow” Wolverton in the picture, I am completely confused.

2003 in New York

Standing in Kim’s Video, I stumble across a footnote in a book about Robert Crumb which identifies Carl Barks, creator of the comic books which were a huge influence on Crumb, as being from Merrill, Oregon.

I turn the book over to see who wrote it — D. K. Holm, from Portland.

At this point I compile a list of living and dead Oregon cartoonists and animators and send it to John Canemaker, asking what he thinks. He calls me, excited and impressed.

He adds two new names.

He tells me Marc Davis, one of Disney’s Nine Old Men, graduated from high school in Klamath Falls

and that Pinto Colvig, an early animator turned voice artist, is from Jacksonville.

2006 in Portland

Dennis and I interview Portland cartoonist  John Callahan for The Portland That Was.

Callahan is surprised to learn that Mel Blanc, a life long hero, is from his own home town. Our intern, a graduate of Lincoln High School, the school Blanc attended, tells us she never heard of him.

About this time, graphic journalist  Joe Sacco returns home to live in Portland, bringing with him his 1996 American Book Award.

Dennis and I return home too.

2007 in Portland

We hold the first Oregon Cartoon Institute public event, a three week screening series at Disjecta of 16mm animation from Dennis’ collection. Jim Blashfield and Rose Bond come and speak. Both have conducted far ranging film careers from Portland.

Blashfield made his acclaimed music videos here, and Bond her monumentally scaled installations. Both use animation.

Our model for engaging audiences emerges  — we will use living artists as interpreters as we raise awareness about the dead ones. Chel White, Bill Plympton, Joan Gratz, Joanna Priestly, Marilyn Zornado and Will Vinton loan us 35mm prints for the final night of the Disjecta series, which takes place at the Hollywood Theater.

Second Oregon Cartoon Institute event: Dennis conducts video interviews with visiting and local artists at the Platform International Animation Festival. We put these online.

At this point, I thought we had found all the historic Oregon animation and cartooning figures there were to find.

I was wrong.

In the course of researching Oregon film history for the Oregon Sesquicentennial Film Festival, I stumble across George Bruns, a four time Oscar nominee for animated film scores, from Sandy

and Dennis stumbles across Ralph Wright, who won the Golden Bear in Berlin in 1957. He’s from Grants Pass.

2009 in Portland

Third Oregon Cartoon Institute event: we co-sponsored Bill Plympton Day at the Oregon Sesquicentennial Film Festival at Marylhurst.

Bill is as fascinated with this history as we are.

Not all our research comes from history books. Some comes from the news. Just when we weren’t looking,  Brad Bird received first one, then two Oscars.

Looking ahead:

An interview about Oregon Cartoon Institute’s next public event, which will take place in 2011, can be found online at  KBOO.fm. Conducted by S. W. Conser as part of his Words & Pictures series, this interview introduces our first artist in residence, Heather Perkins.

Oregon Cartoon Institute is all about partnerships. As soon as the details get finalized, we will announce our upcoming partnerships with others who share our goal of raising public awareness of  this state’s rich animation and cartooning history.

Most famous for his Anthology of American Folk Music, issued by Folkways in 1952, Harry Smith also pioneered abstract animation, attempting to fuse color, motion and sound. His first films were created specifically to be shown in San Francisco jazz clubs.

Entirely self taught, Smith later used the same stop motion collage technique explored by Portland avant garde filmmaker Jim Blashfield.

Harry Smith, a truly unclassifiable American genius, was born in Portland in 1923.

This post brought to you by the Oregon Cartoon Institute.