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Introduction by film historian and curator Steve Anker. Guest speaker Presented by the UCLA Film & Television Archive, Los Angeles Filmforum/Rotations and the Academy Museum. Please note: This screening takes place at the Academy Museum, 6067 Wilshire Blvd., Los Angeles, CA 90036 Total runtime: 74 min.

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Introduction by film scholar Steve Anker. Presented by the UCLA Film & Television Archive, Los Angeles Filmforum/Rotations and the Academy Museum.

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Q&A with filmmaker Charles Burnett and Ashley Clark, author of The World of Black Film: A Journey Through Cinematic Blackness in 100 Films.

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Co-sponsored by the UCLA Library, the Undergraduate Writing Center and the Undergraduate Research Center – Humanities, Arts, and Social Sciences. Learn all about the research process and research opportunities at UCLA, as well as how to find a faculty mentor and earn course credit for doing research. All spring quarter Cornerstone workshops will be held on Zoom.

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In person: Introduction, including a brief talk, by Artel Great, associate professor, San Francisco State University School of Cinema, and author of The Black Pack: Comedy, Race, and Resistance. Q&A with actor Anne-Marie Johnson and Spring Mooney, daughter of comedian and actor Paul Mooney.

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A Depression era-set Southern Gothic thriller, The Night of the Hunter tells an adult story through the eyes of children. Actor-turned-director Charles Laughton described it as a “fairy tale of the Big Bad Wolf’s pursuit of the Little Pigs.” Robert Mitchum stars as the wolf in preacher’s clothing pursuing the two children of a widow (Shelley Winter) who know about a stash of ill-gotten loot. A dream-like work thanks in part to the unique cinematography by Stanley Cortez, it turns feverishly on dualities — heaven and hell, good versus evil, the sacred and profane — while paying homage to the silent era with Lillian Gish also starring.—Theater Manager Lauren Brown Director: Charles Laughton. Screenwriters: James Agee, Charles Laughton. With: Robert Mitchum, Shelley Winters, Lillian Gish.

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Presented by the UCLA Library and the Jacob Marschak Interdisciplinary Colloquium on Mathematics in the Behavioral Sciences Social and political turbulence in the United States and Western Europe has been rising over the past decade. Cliodynamics, the new transdisciplinary field, which combines analysis of historical data with the tools of complexity science, has identified the deep structural forces that work to undermine societal stability and resilience to internal and external shocks. In this talk, Peter Turchin will look beneath the surface of day-to-day contentious politics and social unrest, and focus on the negative social and economic trends that explain our current “Age of Discord.” One of the most important, but little appreciated, such hidden forces is a perverse “wealth pump” that transfers wealth from the “99 percent” to “1 percent.” If allowed to run unchecked, the wealth pump results in both relative impoverishment of most people and increasingly desperate competition among elites. Since the number of power positions in a society remains more or less fixed, the overproduction of elites inevitably leads to frustrated elite aspirants, who harness popular resentment to turn against the established order. In America, the wealth pump has been operating full blast for two generations. In historical terms, our current cycle of elite overproduction and popular immiseration is far along the path to violent political rupture. In fact, today the USA finds itself in a situation that fits the definition of revolution, although, so far, fortunately a relatively non-violent one. The current focus of Turchin's research team is, how do we navigate our Age of Discord without descending into a hot civil war?

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Co-sponsored by the UCLA Library, the Undergraduate Writing Center and the Undergraduate Research Center – Humanities, Arts, and Social Sciences. Learn all about the research process and research opportunities at UCLA, as well as how to find a faculty mentor and earn course credit for doing research. All spring quarter Cornerstone workshops will be held on Zoom.

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Co-sponsored by the UCLA Library, the Undergraduate Writing Center and the Undergraduate Research Center–Humanities, Arts, and Social Sciences. Need help figuring out what topic you want to explore for your project? Having trouble turning a general idea into something more specific? Join us for this workshop with library instructors to learn about developing your research questions. All spring quarter Cornerstone workshops will be held on Zoom.

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Introduction by Gerardo Fueyo Bros, consul general of Spain in Los Angeles, and Gonzalo del Puerto, cultural director, Instituto Cervantes Los Ángeles. 70-minute presentation by historian Silvia Ribelles de la Vega, followed by a Q&A with Ribelles moderated by May Hong HaDuong, director, UCLA Film & Television Archive. Presented in partnership with The Packard Humanities Institute, the Consulate General of Spain in Los Angeles, and the Instituto Cervantes Los Ángeles. Marking the 90th anniversary of the outbreak of the Spanish Civil War (1936–1939), Silvia Ribelles de la Vega, a scholar and historian at The Packard Humanities Institute, presents a program featuring seldom-seen views of the war, drawn from the Hearst Metrotone News collection. The preservation of and access to the collection have been made possible only through the incredible efforts of The Packard Humanities Institute, in collaboration with the UCLA Film & Television Archive, to expand access to one of the most significant newsreel archives of the 20th century. This collection of 27 million feet of newsreels includes approximately 288 reels of film related to the Spanish Civil War. At the time, newsreels — short-form, theatrically exhibited news stories — were often the only moving image records of unfolding events available to international audiences. Hearst cameramen covered the conflict extensively and, remarkably, filmed from both sides of the war. Ribelles’ presentation will move chronologically from 1936 to 1939 and feature not only edited newsreels but also selections from longer, previously unseen footage. Describing the Hearst Metrotone News collection as “a gem for any researcher,” Ribelles highlights the opportunities this newly accessible material offers to scholars and history enthusiasts alike. Drawing on production records, maps and related archival documents, she will examine how the newsreels were filmed, edited and circulated, and how studying them today can surface overlooked histories and reshape our understanding of the Spanish Civil War. 90 years after a conflict that tore a nation apart, these newsreels stand as vital audiovisual evidence and as a testament to the enduring impact of making archival collections accessible to all. The Archive is grateful to The Packard Humanities Institute (PHI) for its role as the driving force in the project to share the Hearst Metrotone News Collection for research, study and public access. To explore more than 20,000 news stories preserved and made accessible by PHI, including unedited materials featured in this program, visit newsreels.net.

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Presented by the UCLA Film & Television Archive and UCLA Asian American Studies Center and Center for EthnoCommunications. In person: Introduction by Associate Professor Josslyn Luckett, NYU Cinema Studies, and Professor Karen Umemoto, Helen and Morgan Chu Director of the UCLA Asian American Studies Center. Q&A with Luckett; filmmaker Tadashi Nakamura; film producer Karen L. Ishizuka, widow of Robert A. Nakamura and mother of Tadashi Nakamura; and Celine Parreñas Shimizu, dean, UCLA School of Theater, Film and Television; Renee Tajima-Peña, professor and director, UCLA Center for EthnoCommunications. Guest speaker This program is a continuation of Toward a More Perfect Rebellion: Multiracial Student Activism at UCLA, which celebrates the radical filmmaking legacy of UCLA’s affirmative action initiative, the Ethno-Communications Program (1969–1973). This iteration honors Ethno-Communications alumnus Robert A. Nakamura (1936–2025), who taught film at UCLA for over 30 years and was widely known as the “godfather of Asian American media.” A co-founder of the pioneering media organization Visual Communications, Nakamura co-directed a milestone feature-length film made by and about Asian Pacific Americans, Hito Hata: Raise the Banner (1980). Shaped by his internment at age six in the prison camp Manzanar during World War II, he transformed personal history into landmark films that helped change how Asian Americans are seen on-screen. Series programmed by Associate Professor Josslyn Luckett, NYU Cinema Studies, and Public Programmer Beandrea July. Notes written by Beandrea July.

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All Family Flicks screenings are free admission. Seating is first come, first served. The Billy Wilder Theater opens 15 minutes before each Family Flicks program. Singin’ in the Rain U.S., 1952 Gene Kelly and Debbie Reynolds shine in perhaps the greatest Hollywood musical of all time. Propelled by a crackling script and exuberant song-and-dance routines, Kelly plays a silent movie star trying to make the leap to talkies, while Reynolds’ struggling chorus girl finds her entry into Hollywood no less complicated. With Donald O’Connor delivering the delirious gags, this timeless classic will leave you with a glorious feeling. 35mm, color, 103 min. Director: Gene Kelly, Stanley Donen. Screenwriter: Betty Comden, Adolph Green. With: Gene Kelly, Donald O’Connor, Debbie Reynolds. Recommended for ages 6+ Part of: Family Flicks

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Q&A with filmmaker Efraín Gutiérrez and Distinguished Professor Chon Noriega, UCLA School of Theater, Film and Television. Presented in partnership with the UCLA Chicano Studies Research Center. Funding for this screening is provided by the Hugh M. Hefner Classic American Film Program. Considered the first Chicano feature, Efraín Gutiérrez’s landmark independent film Please, Don’t Bury Me Alive! (¡Por favor, no me entierren vivo!) was believed lost for years until UCLA Distinguished Professor Chon Noriega tracked down the director and relocated elements to the UCLA Film & Television Archive, where collaborative restoration efforts brought the film back to life. Incorporating Chicano forms of popular theater and music, the bilingual film offers a rhythmic, in-depth look at 1970s-era South Texas Chicano culture, as its central character questions his place in a society that undervalues Latinos, so many of whom had been killed in the Vietnam War. A historic, influential hit in regional theaters, the film’s tremendous impact on Chicano cinema was further cemented in 2014, when it was named to the National Film Registry for its historic, cultural, and artistic significance. Today, in a moment when visibility itself can feel precarious, the film’s call to live boldly in defiance of erasure resonates as powerfully as it did 50 years ago.

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Co-sponsored by the UCLA Library, the Undergraduate Writing Center and the Undergraduate Research Center – Humanities, Arts, and Social Sciences. Want to learn the most effective search strategies? There’s much more to search than Google! Become a savvy searcher and learn more about the best places to search for the information you need. Join us for this workshop with library instructors to learn all about finding sources. All spring quarter Cornerstone workshops will be held on Zoom.

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In person: Introduction by UCLA AMIA Student Chapter members Clare Britton and Molly Regan. Guest speaker Presented by the UCLA Film & Television Archive and the UCLA AMIA Student Chapter. Avant-garde cinema represents films that are experimental or innovative, typically rejecting traditional narrative structures while exploring abstract concepts and emphasizing visual and aural elements. Avant-garde animation often utilizes techniques that abstract form, defy continuity and emphasize musicality. Programmed by Molly Regan. Notes written by Clare Britton and Molly Regan.

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In person: Introduction by UCLA AMIA Student Chapter Programmer Noah Brockman. Q&A with directors Greg Watkins and Caveh Zahedi. Presented by the UCLA Film & Television Archive and the UCLA AMIA Student Chapter. This program explores how reenactment exposes cinema’s inherent nature to simultaneously depict, reconstruct and reinterpret. In these films, our subjects perform their own stories, exploring the productive tensions between reality, art and representation on-screen. Programmed by Noah Brockman.

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Made possible by the John H. Mitchell Television Programming Endowment. Premiering in 1990, In Living Color exploded onto the Fox Television Network, reinvigorating the sketch comedy genre by showcasing a multiracial ensemble unafraid of controversy. Created by trailblazing multi-hyphenate Keenen Ivory Wayans, the innovative series turned primetime into a cultural battlefield, uproariously harnessing satire and spectacle to explore issues of race, class and celebrity. In his book, The Black Pack: Comedy, Race, and Resistance, author Artel Great situates In Living Color within the broader lineage of Black sketch comedy, illuminating how the innovative series served as an industrial weapon, seizing time, space and cultural power, often forcing America to laugh at what it preferred to ignore. In the process, the hit series won the Primetime Emmy Award for Outstanding Variety, Music or Comedy Series in 1990. Helping to launch a breakout cast of highly gifted comedians that included David Alan Grier, Daymon Wayans, Kim Wayans, Tommy Davison, Jamie Foxx and Jim Carrey, In Living Color introduced a lasting lexicon of original characters and catchphrases to pop culture, from Homey D. Clown (“Homey, don’t play that”) to Men on Film (“two snaps up”) that continue to resonate long after the series' final broadcast on Fox in 1994. Join us for a quartet of hilariously provocative episodes of In Living Color curated and introduced by author Artel Great.

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In person: Introduction by Artel Great, associate professor, San Francisco State University School of Cinema, and author of The Black Pack: Comedy, Race, and Resistance. Here Eddie Murphy stands at the center of the Black Pack as Prince Akeem, heir to the throne of Zamunda, who leaves royal luxury for Queens, New York, in search of love on his own terms. The most commercially successful Black comedy feature of its era, this blockbuster is also a case study in power and authorship, as Murphy gives a tour de force performance of multiple characters and earns a “story by” credit. Ultimately, the film shows how box office clout enabled Black cultural specificity while embedding sharp critiques of race, class and respectability within mainstream studio comedy. Director: John Landis. Screenwriter: David Sheffield, Barry W. Blaustein. With: Eddie Murphy, Arsenio Hall, James Earl Jones.

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Co-sponsored by the UCLA Library, the Undergraduate Writing Center and the Undergraduate Research Center – Humanities, Arts, and Social Sciences. Learn about citation practices and avoiding plagiarism, how to auto-generate your bibliography, keep track of your sources and more! Join us for this workshop with library instructors to learn about citing your sources. All spring quarter Cornerstone workshops will be held on Zoom.

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In person: Introduction by Artel Great, associate professor, San Francisco State University School of Cinema, and author of The Black Pack: Comedy, Race, and Resistance. Q&A with Great, The Five Heartbeats cast member Tico Wells and UCLA Associate Professor Scot Brown, Department of History.

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In person: Introduction by Artel Great, associate professor, San Francisco State University School of Cinema, and author of The Black Pack: Comedy, Race, and Resistance. Q&A with Great and photographer Bruce Talamon. Harlem Nights marks the only film written, directed, produced by and starring Eddie Murphy. Set in 1930s Harlem, the film imagines a world of Black nightlife, entrepreneurship and survival amid gangsters and corrupt cops. Anchored by a jazzy score blending big band and Duke Ellington standards, the film unites three generations of Black comedy — Redd Foxx, Richard Pryor and Murphy — alongside an overflowing ensemble cast. Often misunderstood on release, Harlem Nights stands as a bold assertion of authorship and creative control, envisioning Black autonomy over space, style and destiny. Director/Screenwriter: Eddie Murphy. With: Eddie Murphy, Richard Pryor, Redd Foxx, Jasmine Guy, Della Reese.

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Co-sponsored by the UCLA Library, the Undergraduate Writing Center and the Undergraduate Research Center – Humanities, Arts, and Social Sciences. Learn how to organize your research into a coherent and compelling literature review. All spring quarter Cornerstone workshops will be held on Zoom.

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There’s more to the US Census than meets the eye. Want to learn how you can access and use census data in your research? Join librarians Maggie Tarmey and Kelsey Brown to explore reports, data profiles and datasets on data.census.gov. This lecture-based workshop is designed for researchers of any experience level and will not be recorded. This workshop will be offered via Zoom. If you're registered, you'll receive the Zoom invitation information the day before the workshop Led by Maggie Tarmey, librarian for Geography, Maps, and Economics, and Kelsey Brown, librarian for Archaeology, Public Policy and Urban Planning.

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Co-sponsored by the UCLA Library, the Undergraduate Writing Center and the Undergraduate Research Center – Humanities, Arts, and Social Sciences. Keep your stress levels down while pursuing your research interest! Learn how to create a timeline for your project and manage challenges while staying on track toward your goal. All spring quarter Cornerstone workshops will be held on Zoom.

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Part of the UC Library Carpentry online workshop series, May 11–20. Good data organization is the foundation of any research project. This session will cover best practices for structuring spreadsheet data, common formatting mistakes to avoid and tidy data principles. Instructors: Tim Dennis and Hannah Sutherland

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Part of the UC Library Carpentry online workshop series, May 11–20. The Unix shell is a powerful way to automate repetitive tasks, work with files at scale and build reproducible workflows with just a few keystrokes. This session introduces the command line in a practical, approachable way for library and information professionals. Instructors: Dave George & Jamie Jamison

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Part of the UC Library Carpentry online workshop series, May 11–20. Version control helps you track changes, collaborate with others and manage your work over time. This session introduces Git and GitHub in a practical, approachable way for library and information professionals. No prior experience required. Instructor: Tim Dennis

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Are you interested in writing a review article? Have you been assigned a literature review on a topic, but aren’t sure where to start? This workshop will walk you through the process of planning and organizing a literature review. We will cover research questions, database selection, search strategy, synthesis and more! This workshop will be offered via Zoom. If you're registered, you'll receive the Zoom invitation information the day of the workshop. Instructor: Molly Hemphill, Medical Education Librarian

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Part of the UC Library Carpentry online workshop series, May 11–20. OpenRefine helps you clean messy data, transform it between formats and reconcile it against external sources. This session is designed for library and information professionals working with collections data, metadata or research datasets. Instructors: Ryan Horne & Jamie Jamison

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Scholarly identity is about more than the articles you publish or the projects you share online with your research communities. Scholarly identity includes the many parts of your history and engagement as a researcher, including your education, employment, awards, collaborators and more – and it exists whether you are the one curating it or not. Taking control of your scholarly identity supports your visibility, credibility and transparency as a researcher and plays a crucial role in open scholarly communication. This workshop will cover the importance and impact of creating and managing your scholarly identity with tools like ORCID and Google Scholar, as well as how these tools connect with other network and profile platforms. Other options like Twitter and ResearchGate will also be explored. Instructor: Hannah Sutherland and Stephen Gabrielson

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Part of the UC Library Carpentry online workshop series, May 11–20. Learn the basics of Python for working with data. This session introduces core concepts like variables, lists and working with tabular data using Pandas, with a focus on practical examples for library and information professionals. No prior programming experience required. Instructor: Ryan Horne

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Part of the UC Library Carpentry online workshop series, May 11–20. Build on the basics from Getting Started with Python and take the next step with Python for data work. This session focuses on using Pandas for data analysis and creating clear, effective visualizations for research and reporting. The session will include work with real datasets relevant to library and information contexts. Prerequisite: Attend Getting Started with Python or have equivalent experience with basic Python concepts, including variables, lists and running simple scripts. Instructor: Ryan Horne

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This workshop will offer an overview on the entire systematic review process — from hypothesis to publication, and why it takes so long to conduct one! Attendees will leave with concrete steps to take to plan a systematic review, as well as an understanding of systematic review methodology and how it differs from other types of review articles. This workshop will be offered via Zoom. If you're registered, you'll receive the Zoom invitation information the day of the workshop. Instructor: Robert Johnson, Clinical and Research Support Librarian

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In person: chef and restaurateur Alice Waters. Director Alfonso Arua’s Like Water for Chocolate was an arthouse sensation when first released and still defines the evocative power of food in film. Based on Laura Esquivel’s novel, its sensuous tale of forbidden love unfolds in early 20th-century Mexico when Tita is bound by family tradition to remain unmarried to care for her mother. Prevented from acting on her love for the handsome Pedro, she pours her passion and heartbreak into her cooking which has a magical, intoxicating effect on those who consume it. The intimacy of the heart and the intimacy of the kitchen transform culinary preparation into a powerful expression of desire, rebellion and yearning.—Senior Public Programmer Paul Malcolm Director: Alfonso Arau. Screenwriter: Laura Esquivel. With: Lumi Cavazos, Marco Leonardi, Regina Torné. 35mm print courtesy of the Sundance Collection at the UCLA Film & Television Archive.

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In person: Q&A with actor David Selby and historian Jim Pierson, editor of Dark Shadows Noir: Classic Black and White Photography From the Dan Curtis Productions Archive. Book signing with Pierson before the screening. Guest speaker Made possible by the John H. Mitchell Television Programming Endowment. Premiering on June 27, 1966, on ABC-TV, Dark Shadows (1966–71) represented an outré experiment in daytime television that became an unexpected breakout hit and evergreen cult classic. Created by horror-maestro Dan Curtis (The Night Stalker, Trilogy of Terror), the innovative soap opera, which initially struggled in the ratings, expanded greatly in popularity in its second year with the addition of a 175-year-old charismatic vampire character named Barnabas Collins (Jonathan Frid). As the eerily atmospheric series evolved to fuse gothic supernatural elements and romance into complex storylines, it developed a passionate youth following and became a pop culture phenomenon. In the process, the videotaped series earned the distinction of being the first soap to spawn a theatrical motion picture spin-off, House of Dark Shadows (1970), and several additional feature films and reboots. The beloved original series ran for over 1,200 episodes before its abrupt cancellation in 1971. In the ensuing decades, the aura surrounding Dark Shadows has only intensified, with the influential program enjoying nearly constant reruns in syndication, luring an influx of new viewers into the mysterious, shadow-drenched world of the wealthy Collins family of fictional Collinsport, Maine. Join us for a celebration of Dark Shadows, exactly 60 years to the day of its premiere, including the debut episode and rare archival footage. Before the screening, historian Jim Pierson will sign copies of Dark Shadows Noir: Classic Black and White Photography from the Dan Curtis Productions Archive. Following the screening, there will be a Q&A with Dark Shadows star, actor David Selby, and Jim Pierson. Programmed and note written by John H. Mitchell Television Curator Mark Quigley.

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Presented by UCLA Film & Television Archive and the Hammer Museum. The Billy Wilder Theater opens 15 minutes before each Family Flicks program.

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In person: director Karen Arthur; editor Carol Littleton; Paula Chambers, daughter of screenwriter and actor Joan Hotchkis; Eric Morris, acting teacher and director of the theatrical production of Legacy. Guest speaker Legacy is the story of Bissie Hapgood, a woman unraveling under the pressures of a vapid and materialistic society consumed with dinner-plate settings, soap operas and sexual frustration. The material originated as a one-woman show in 1973, written and performed by Joan Hotchkis, a versatile talent celebrated for her roles on television series including The Odd Couple and The Life and Times of Eddie Roberts. Karen Arthur, a first-time filmmaker, saw Hotchkis on stage and convinced the actor to adapt the screenplay and star in the film. Independently produced and financed, Legacy, like its peers Wanda (1970) and A Woman Under the Influence (1974), confounds 1970s Hollywood’s expectations with the introduction of a new kind of cinematic woman. Bissie stuns audiences with her honesty that is confrontational, yet heartfelt and a vulnerability that is never sentimental and always surprising. Legacy features an exceptional crew at the start of what would become a set of accomplished careers. Arthur, who would go on to direct The Mafu Cage (1978) and become a prolific television director, winning an Emmy Award for Cagney & Lacey, collaborated with cinematographer John Bailey (Ordinary People, 1980, In the Line of Fire, 1993) and editor Carol Littleton (E.T., 1982, The Manchurian Candidate, 2004). Note written by Archive Research and Study Center Officer Maya Montañez Smukler.

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Presented by UCLA Film & Television Archive and the Hammer Museum. The Billy Wilder Theater opens 15 minutes before each Family Flicks program.

#Arts #MovieFilm