Winter Break

Part of: Archive Television Treasures In person: writer-director Reginald Hudlin, producer-director Stan Lathan, NYU Associate Professor Josslyn Luckett Presented by the UCLA Film & Television Archive and the Directors Guild of America. Made possible by the John H. Mitchell Television Programming Endowment. In a trailblazing entertainment industry career spanning over half a century, producer-director Stan Lathan continues to leave an indelible creative mark. His groundbreaking work in television began with directing the PBS public affairs and documentary series Say Brother and Black Journal, which were produced to give voice to Black communities following the assassination of Dr. Martin Luther King, Jr. Later summoned by Redd Foxx to work on Sanford and Son as one of the few Black directors in primetime television, Lathan went on to helm episodes for a wide range of hit series, from Hill Street Blues to Roc. A formidable talent, he also directed numerous pilots that launched highly successful series, including Amen and Moesha. In a career of milestones, following his theatrical feature Beat Street (1984), Lathan partnered with Russell Simmons to create Def Comedy Jam and Def Poetry Jam for HBO, the latter garnering the duo a Peabody Award. Among multiple Emmy, Grammy and Tony Awards and too many other major awards to mention, Lathan was recognized with a CINE Golden Eagle and an American Film Festival Blue Ribbon for directing the American Playhouse telefilm Go Tell It on the Mountain (1985). In perhaps the highest accolade possible, cultural titan James Baldwin publicly pronounced his love of the TV adaptation of his seminal work. Join us as we celebrate Stan Lathan with a screening of Go Tell It on the Mountain, introduced by NYU Associate Professor Josslyn Luckett. Programmed and notes written by John H. Mitchell Television Curator Mark Quigley.

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@ Join us for a special holiday hike on the Westridge Trail to the Nike missile site at San Vicente Mountain. Wear your most outrageous holiday sweaters and festive colors, along with any other holiday swag you want to show off. The hike is approximately 7 miles with an elevation gain of 730 feet and with the option to turn around early for those who do not want to join the full hike. Please also make sure that you are prepared with appropriate footwear, sunscreen and/or a hat, and plenty of water. ### [Westside Network](https://alumni.ucla.edu/organizer/los-angeles-westside-network/) Add to calendar * Google Calendar * iCalendar * Outlook 365 * Outlook Live

Part of: Dorothy Dandridge The story of Dorothy Dandridge’s career mirrors that of early 20th century Black Hollywood. She first arrived in Los Angeles with her family in the 1930s, during the Great Depression. Dorothy’s mother, Ruby, found work in radio and in small film parts, usually playing domestics. Dorothy and her sister Vivian transformed their Chitlin’ Circuit acrobatic act The Wonder Children into a singing group called The Dandridge Sisters, who were popular in nightclubs like The Cotton Club. The Dandridge family lived in the thriving Black Hollywood area around Central Street in South Los Angeles, connected to the rest of the city by streetcars known as Red Cars. In the 1940s, Dorothy lived in that same neighborhood with her husband, Harold Nicholas of the Nicholas Brothers. Dandridge later moved to a beautiful modern home in the Hollywood Hills before that area was fully integrated. She was always a pioneer, doing things first and refusing to accept the discrimination she saw around her. After she became the first Black woman to be nominated for the Best Actress Oscar for Otto Preminger’s Carmen Jones (1954), she turned down countless supporting roles or what she considered to be stereotypes. Dandridge instead chose to make European and independent films, many of which will screen on prints in this series. She wasn’t so much ahead of her time, as an uncompromising bright talent who refused to bend to a flawed and racist industry. Hollywood today is still catching up to her. Series programmed and notes written by Miriam Bale.

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This training session will demonstrate how to finalize your Bruin Learn gradebook and transfer Bruin Learn grades to MyUCLA. Audience: Faculty, TAs, Staff

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In person: director Raha Shirazi. Presented by the UCLA Film & Television Archive and Farhang Foundation In this powerful documentary, director Raha Shirazi tells of the generational struggle of Iranian women to achieve basic human rights, from the suffrage movement under the Shah in the 1960s to the Women, Life, Freedom Movement sparked by the death of Mahsa Amini in 2022. While a group of high profile activists speak on camera, including Mahnaz Afkhami, Asieh Amini, Masih Alinejad and Shaparak Shajarzadeh, it’s the anonymous girls and women demonstrating in classrooms, homes, offices and on the streets, as seen in archival news footage and more recent TikTok videos, that are the film’s real focus. As each generation has evolved new strategies to advance the cause, their unwavering commitment to freedom remains an inspiring constant. Programmed and note written by Senior Public Programmer Paul Malcolm. Program generously funded by the Farhang Foundation.

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This training session will demonstrate how to finalize your Bruin Learn gradebook and transfer Bruin Learn grades to MyUCLA. Audience: Faculty, TAs, Staff

#FacultyStaff

Part of: Dorothy Dandridge The story of Dorothy Dandridge’s career mirrors that of early 20th century Black Hollywood. She first arrived in Los Angeles with her family in the 1930s, during the Great Depression. Dorothy’s mother, Ruby, found work in radio and in small film parts, usually playing domestics. Dorothy and her sister Vivian transformed their Chitlin’ Circuit acrobatic act The Wonder Children into a singing group called The Dandridge Sisters, who were popular in nightclubs like The Cotton Club. The Dandridge family lived in the thriving Black Hollywood area around Central Street in South Los Angeles, connected to the rest of the city by streetcars known as Red Cars. In the 1940s, Dorothy lived in that same neighborhood with her husband, Harold Nicholas of the Nicholas Brothers. Dandridge later moved to a beautiful modern home in the Hollywood Hills before that area was fully integrated. She was always a pioneer, doing things first and refusing to accept the discrimination she saw around her. After she became the first Black woman to be nominated for the Best Actress Oscar for Otto Preminger’s Carmen Jones (1954), she turned down countless supporting roles or what she considered to be stereotypes. Dandridge instead chose to make European and independent films, many of which will screen on prints in this series. She wasn’t so much ahead of her time, as an uncompromising bright talent who refused to bend to a flawed and racist industry. Hollywood today is still catching up to her. Series programmed and notes written by Miriam Bale.

#Arts #MovieFilm

Part of: Dorothy Dandridge The story of Dorothy Dandridge’s career mirrors that of early 20th century Black Hollywood. She first arrived in Los Angeles with her family in the 1930s, during the Great Depression. Dorothy’s mother, Ruby, found work in radio and in small film parts, usually playing domestics. Dorothy and her sister Vivian transformed their Chitlin’ Circuit acrobatic act The Wonder Children into a singing group called The Dandridge Sisters, who were popular in nightclubs like The Cotton Club. The Dandridge family lived in the thriving Black Hollywood area around Central Street in South Los Angeles, connected to the rest of the city by streetcars known as Red Cars. In the 1940s, Dorothy lived in that same neighborhood with her husband, Harold Nicholas of the Nicholas Brothers. Dandridge later moved to a beautiful modern home in the Hollywood Hills before that area was fully integrated. She was always a pioneer, doing things first and refusing to accept the discrimination she saw around her. After she became the first Black woman to be nominated for the Best Actress Oscar for Otto Preminger’s Carmen Jones (1954), she turned down countless supporting roles or what she considered to be stereotypes. Dandridge instead chose to make European and independent films, many of which will screen on prints in this series. She wasn’t so much ahead of her time, as an uncompromising bright talent who refused to bend to a flawed and racist industry. Hollywood today is still catching up to her. Series programmed and notes written by Miriam Bale.

#Arts #MovieFilm