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the history of film -- visual representation of the collective unconscious

        Starting that fall, a unique, immensely rich thread of experience wound itself thru all three quarters in the guise of a film course called "Great Directors" and taught by William "Bill" Cadbury. He was a tremendously engaging lecturer and person, and he knew worlds about the history of film. Having grown up in the forties, he was a student of film himself from his childhood on and his wealth of personal experience and understanding of the genre was evident in the richly detailed explications he wood regale us with during each class.
        The sched for the fall term was:   a film wood be shown Monday and Wednesday night, then Cadbury wood "hold forth" the next morning on both Tuesday and Thursday regarding what we'd just taken in;   then for those like myself who were extremely engaged by all this, we cood go to the basement of the library on Tuesday and Thursday afternoon to see the same film a second time, right on the heels of taking in all Bill had just expounded upon that morning. Winter term the nights shifted to Tuesday / Thursday with the lecture and re-screening on Wednesday / Friday. Regrettably, i've lost the series ticket from spring quarter so i'll have to rely on the incomplete info in my class notes below.
        i take the liberty of listing here the "programs" from those three quarters to convey some sense to similarly-inclined film affecianados of just what we luxuriated in "drinking in" thruout that year:


Bijou Dream

Fall -- September 29 thru December 8, 1975:
  • Citizen Kane, Welles, 1941
  • Birth of a Nation, Griffith, 1915
  • Potemkin, Eisenstein, 1925
  • Mother, Pudovkin, 1926
  • Earth, Dovshenko, 1930
  • Nosferata, Murnau, 1922
  • The Cabinet Of Dr. Caligari, Wiene, 1920
  • Moonlight, Murnau, 1927
  • Tabu, Murnau, 1931
  • Metropolis, Lang, 1926
  • M, Lang, 1932
  • Fury, Lang, 1936
  • The Gold Rush, Chaplin, 1925
  • Easy Street, Chaplin, 1917
  • The General, Keaton, 1925
  • Cops, Keaton, 1922
  • Underworld, von Sternberg, 1927
  • The Blue Angel, von Sternberg, 1930
  • Chinamen's Chance, von Sternberg, 1932
  • The Scarlet Empress, von Sternberg, 1934

Winter -- January 8 thru March 11, 1976
  • Casablanca, Curtiz, 1942
  • It Happened One Night, Capra, 1934
  • Young Mr. Lincoln, Ford, 1939
  • How Green Was My Valley, Ford, 1941
  • My Darling Clementine, Ford, 1946
  • The Searchers, Ford, 1956
  • The Big Sleep, Hawks, 1946
  • Red River, Hawks, 1948
  • Rio Bravo, Hawks, 1959
  • Boudu Saved from Drowning, Renoir, 1932
  • The Grand Illusion, Renoir, 1937
  • The Rules of the Game, Renoir, 1939
  • The Reckless Moment, Ophuls, 1949
  • La Ronde, Ophuls, 1950
  • The Earrings of Madame de . . ., Ophuls, 1954
  • Lola Montes, Ophuls, 1955
  • Shadow of a Doubt, Hitchcock, 1943
  • Strangers on a Train, Hitchcock, 1951
  • Psycho, Hitchcock, 1960
Spring -- pieced together from class notes
  • I Vitelloni, Fellini, 1953
  • La Strada, Fellini, 1954
  • La Dolce Vita, Fellini, 1961
  • , Fellini, 1963
  • L'Avventura, Antonioni, 1960
  • La Notte,Antonioni, 1961
  • L'Eclisse,Antonioni, 1962
  • Red Desert, Antonioni, 1964
  • The Seven Samurai, Kurosawa, 1954
  • The End of Summer, Ozu
  • Ugetsu, Mizoguchi, 1953
  • Naked Night, Bergman, 1953
  • Wild Strawberries, Bergman, 1957
  • The Silence, Bergman, 1963
  • Persona, Bergman, 1966
  • Breathless, Godard, 1959
  • Pierrot le Fou, Godard, 1965
  • 2 or 3 Things I Know About Her, Godard, 1966
  • Weekend, Godard, 1967

Acme-Bijou (Winter, 1976)

  • Three Bad Men, Ford, 1926
  • Judge priest, Ford, 1934
  • Prisoner of Shark Island, Ford, 1936
  • The Hurricane, Ford, 1937
  • The Grapes of Wrath, Ford, 1940
  • Tobacco Road, Ford, 1941
  • They Were Expendable, Ford, 1945
  • Wagon Master, Ford, 1950
  • Rio Grande, Ford, 1950
  • The Quiet Man, Ford, 1952
  • The Wings of Eagles, Ford, 1957
  • The Horse Soldiers, Ford, 1959
  • Seven Women, Ford, 1966
  • Platinum Blonde, Capra, 1931
  • American Madness, Capra, 1932
  • The Bitter Tea of General Yen, Capra, 1933
  • Mr. Deeds Goes to Town, Capra, 1936
  • Mr. Smith Goes to Washington, Capra, 1939
  • Meet John Doe, Capra, 1941
  • It's a Wonderful Life, Capra, 1946
  • State of the Union, Capra, 1948

        The tickets to the above three Fall-Winter-Spring series were the "books" for the class. For each term the ticket list was titled "Bijou Dream". During the winter quarter Cadbury also put together an "Acme-Bijou" series that ran concurrently on Monday / Wednesday nights and i took the opportunity to see about half of the films from this list.
        This class, and Bill's immense scope of nawl-edge about the significance and meaning of what these great directors had created, made a deep, lasting impression upon me. The art of watching a film was awakened within and the films we were introduced to provided an ineffably rich source of imagery and ideas that has enhanced and enriched my own experience and appreciation of humanity and our collective journey of consciousness together on this mote of dust whirling thru space.
        One night that spring i bebember lying down on a cot in the driveway looking up into the stars with quite a hempen intoxication in progress. i saw more vividly than i can ever otherwise bebember, the depth between myself and each star -- they were not simply points of light on a dome's surface. i visually apprehended the fact of their floating at varying distances out in front of my self. This was the sort of "incubator" i was exploring the presence of during the time of creation of the rat haus ancestors. It was in this time that i came to the conclusion that once and for all, i had to give the pie'ana thing the real exploration it cried-out for.


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