Week 3

While the benefits of active learning are clear, sustainably implementing it may still seem elusive. In this session, participants will reflect on current active learning practices, analyze five factors that accelerate active learning, and consider ways to integrate (or amplify) these factors in their classrooms. Presenter: Kem Saichaie, Executive Director of the UCLA Teaching and Learning Center #activelearning #fivefactors #supportstudentlearning Each academic quarter, the UCLA Teaching and Learning Center (TLC) hosts a weekly series of 10+10 Pop-Up sessions on Zoom. These brief, 10-minute presentations focus on specific topics related to course design, teaching, learning, and assessment, and are led by instructional designers and developers from TLC and campus partners. The “+10” refers to an optional 10-minute discussion following each presentation, where participants can ask questions and share insights. These sessions are open to all UCLA instructors—including faculty, lecturers, instructors of record, graduate student instructors, and postdoctoral scholars. Please direct any inquiries to instructorsupport@teaching.ucla.edu.

#GraduateProfessional #FacultyStaff #Educational #Academic

Training and drop-in session for instructors to learn more about myCAE, outline how to access and navigate the myCAE Instructor Portal, and provide opportunity to troubleshoot any brief questions around instructors' use of myCAE.

#FacultyStaff #Educational

Training and drop-in session for students to learn more about myCAE, outline how to access and navigate their myCAE Portal, and provide an opportunity to troubleshoot any brief questions around students' use of myCAE.

#Undergraduate #GraduateProfessional

Beginning Winter 2026, Student Experiences of Teaching (SET) will offer virtual drop-in hours with Cassidy Alvarado, Ed.D., (she/her), Program Manager of Student Experience Initiatives. Instructors, Teaching Assistants, and Evaluation Coordinators can get support navigating Blue (UCLA’s course feedback platform), accessing reports, and more. Instructors and Teaching Assistants Mondays: 3:00-4:00 pm Fridays: 12:00-1:00 pm Evaluation Coordinators and Department Staff Tuesdays: 2:00-3:00 pm Fridays: 9:00-10:00 am

#FacultyStaff #Educational

These meetups are for people who make websites. Join us every other week, on Wednesday at 11am, to ask any questions you may have about making websites at UCLA.

#FacultyStaff #Educational #Media

“Captivating Clips from Classic Courtroom Movies" Paul Bergman, UCLA Professor of Law Emeritus, will be back with us to present his amusing and enlightening take on courtroom drama. He'll share how real trials and courtroom movies are made for each other. Lawyers are storytellers and courtrooms are theaters; trials can provide drama, surprise, suspense, laughs, and sometimes truth. He will educate and entertain us by showing and discussing clips from familiar and not-so-familiar courtroom movies. Plus he will be adding clips that feature Oscar-winning actors and actresses as we head into awards season. Paul Bergman is a Professor of Law Emeritus at the UCLA Law School. He received his J.D. from UC Berkeley, clerked for a federal court of appeals judge, and worked at a law firm before joining the UCLA law faculty and pioneering one of the earliest and finest clinical law programs in the country. Paul continues to publish books and articles, teach Evidence, and give courtroom film clip-based presentations regularly to judges, lawyers and community groups, including adult education courses for UCLA Extension. Paul’s awards include the University Distinguished Teaching award (UC’s highest teaching honor), the Dickson Award for Distinguished Service and Scholarship, and the American Board of Trial Advocacy award for trial scholarship and teaching. Paul has also written and co-authored numerous law review articles and books on a wide range of subjects. Pop culture related essays include an award-winning essay discussing the contribution of the 1970's TV show Emergency! to the development and legalization of paramedics. As a result, Paul appeared in a 2022 documentary celebrating the 50th anniversary of the show’s debut.

This online workshop provides space for participants to reflect on the impact of GenAI on their disciplines and professions. Following an overview of UCLA data about how students are using GenAI, participants will discuss the pros and cons of GenAI use in education. Afterwards, participants will draft a deliverable tailored to their teaching context, such as a syllabus statement, a revised assignment prompt that integrates or speaks to GenAI, or a communication plan for addressing GenAI in their course. Participants will peruse examples of each before working to give each other feedback in small groups. This session is designed for faculty, including professors, lecturers, and adjunct instructors. Register to receive the Zoom link. This workshop will be hosted and facilitated by the Teaching and Learning Center (TLC). Please contact instructorsupport@teaching.ucla.edu if you have any questions.

#FacultyStaff #Educational #Academic

Learn how to apply to develop and teach a course based on YOUR doctoral research through the Collegium of University Teaching Fellows program! Graduate student fellows will receive tuition and fee remission during the quarter when they teach their course, provided they meet all eligibility requirements. Join the Teaching and Learning Center (TLC) for an information session on January 22 or 28 to learn more about program requirements and the application process. Attend either session; the content will be duplicative.

#GraduateProfessional #Educational #Academic

Training and drop-in session for instructors to learn more about myCAE, outline how to access and navigate the myCAE Instructor Portal, and provide opportunity to troubleshoot any brief questions around instructors' use of myCAE.

#FacultyStaff #Educational

Training and drop-in session for students to learn more about myCAE, outline how to access and navigate their myCAE Portal, and provide an opportunity to troubleshoot any brief questions around students' use of myCAE.

#Undergraduate #GraduateProfessional #Educational

What is trauma, and how does it impact student learning? This workshop answers these questions with neuroscience and psychology-based research on the cognitive impacts of trauma, after which participants will explore principles of trauma-informed and care-centered pedagogy. Participants will practice applying a trauma-informed approach in case studies, in addition to identifying care-centered and compassionate teaching practices to support the learning of all students. This session is open to all instructors, including faculty, TAs, and postdocs. This workshop will be hosted in-person and facilitated by the Teaching and Learning Center (TLC). Please contact instructorsupport@teaching.ucla.edu if you have any questions.

#FacultyStaff #Educational #Academic

Beginning Winter 2026, Student Experiences of Teaching (SET) will offer virtual drop-in hours with Cassidy Alvarado, Ed.D., (she/her), Program Manager of Student Experience Initiatives. Instructors, Teaching Assistants, and Evaluation Coordinators can get support navigating Blue (UCLA’s course feedback platform), accessing reports, and more. Instructors and Teaching Assistants Mondays: 3:00-4:00 pm Fridays: 12:00-1:00 pm Evaluation Coordinators and Department Staff Tuesdays: 2:00-3:00 pm Fridays: 9:00-10:00 am

#FacultyStaff #Educational

Beginning Winter 2026, Student Experiences of Teaching (SET) will offer virtual drop-in hours with Cassidy Alvarado, Ed.D., (she/her), Program Manager of Student Experience Initiatives. Instructors, Teaching Assistants, and Evaluation Coordinators can get support navigating Blue (UCLA’s course feedback platform), accessing reports, and more. Instructors and Teaching Assistants Mondays: 3:00-4:00 pm Fridays: 12:00-1:00 pm Evaluation Coordinators and Department Staff Tuesdays: 2:00-3:00 pm Fridays: 9:00-10:00 am

#FacultyStaff #Educational

In-person: Karen Pearlman, filmmaker; Lilya Kaganovsky, professor and chair, UCLA Department of Slavic, East European & Eurasian Languages & Cultures. Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Cinema’s First Nasty Women returns to the Billy Wilder Theater! Its name a riff on the feminist cri de cœur that arose during the 2016 presidential election, Cinema’s First Nasty Women is an ongoing, curated project to rediscover and revel in the anarchic spirit of women comedians who brought a rebellious energy to the early silent screen. Organized by an international team of film archivists and scholars, Maggie Hennefeld, Laura Horak and Elif Rongen-Kaynakçi, this new travelling program of restored titles from the project comes with a special twist. Archival collections can inspire new research which in turn helps grow new audiences, but they can also inspire new films. Based in Australia, with The Physical TV Company, filmmaker and author Karen Pearlman has built a feminist film practice that puts cinema’s past and present in dialogue in brilliantly constructed, canon-busting short film essays. For “Cinema’s First Nasty Women: Breaking Plates and Smashing the Patriarchy,” Pearlman drew on the project's images and energy for her latest short, Breaking Plates. The Archive is thrilled to have Pearlman as our guest at the Billy Wilder Theater with a selection of her work along with the Los Angeles premiere of Breaking Plates and the silent slapstick female performers that inspired it. Programmed by Paul Malcolm with Maggie Hennefeld, Laura Horak, Karen Pearlman and Richard James Allen. Notes written by Senior Public Programmer Paul Malcolm. Woman with an Editing Bench Australia, 2016 Channeling the explosive montage editing style of Soviet-era filmmaker Elizaveta Svilova, Karen Pearlman centers Svilova’s creative contributions in Dziga Vertov’s work, including Man With a Movie Camera, among their many other other documentary collaborations. DCP, color, 15 min. Director/Screenwriter: Karen Pearlman. With: Leeanna Walsman, Richard James Allen, Marcus Graham. After the Facts Australia, 2018 Director Karen Pearlman reclaims the “Kuleshov Effect” from the male theorist who named it for Esfir Shub and the other pioneering Soviet-era women editors who actually developed and deployed it on screen. DCP, b&w, 5 min. Director/Screenwriter: Karen Pearlman. I want to make a film about women Australia, 2019 In this “speculative love letter to Russian constructivist women,” director Karen Pearlman reimagines how leading Soviet-era artists, including filmmaker Lilya Brik, designer Varvara Stepanova and editor Esfir Shub, transformed their kitchens into labs for collective creative exploration and production during a period of harsh repression and marginalization. DCP, b&w, 12 min. Director/Screenwriter: Karen Pearlman. With: Victoria Haralabidou, Inga Romantsova, Liliya May. Breaking Plates Australia, 2024 Galvanized by the anarchic energies on display in the films of the Cinema’s First Nasty Women project but also acutely aware of the course of film history from there, filmmaker Karen Pearlman and her on-screen collaborator Violette Ayad confront the question, “What happened to our revolution?” Breaking Plates is less an answer than a declarative, spirited act to reclaim silent cinema’s disrupted female agency and channel it into a new liberated cinema of today. DCP, color, 25 min. Director/Screenwriter: Karen Pearlman. With: Violette Ayad, Karen Pearlman, Richard James Allen. The Nervous Kitchen Maid (Victoire a ses nerfs) France, 1907 DCP, b&w, silent with original music by Gonca Feride Varol, 3 min. Rosalie and Her Phonograph (Rosalie et son Phono) France, 1911 DCP, b&w, silent with original music by Renée T. Coulombe, 4 min. Director: Romeo Bosetti. Mary Jane's Mishap U.K., 1903 DCP, b&w, silent with original music by Gonca Feride Varol, 3 min. Director: George Albert Smith. Zoé and the Miraculous Umbrella (Zoé et le parapluie miraculeux) France, 1913 DCP, b&w, silent with original music by Gonca Feride Varol, 4 min. Léontine Pulls the Strings (Les ficelles de Léontine) France, 1910 DCP, b&w, silent with original music by Veronica Leahy, 7 min. Hypnotizing the Hypnotist U.S., 1911 DCP, b&w, silent with original music by Gerson Lazo-Quiroga, 7 min. Director: Laurence Trimble. Cunégonde the Coachwoman (Cunégonde femme cochère) France, 1913 DCP, b&w, silent with original music by Gonca Feride Varol, 6 min. With: Little Chrysia. The Boy Detective or the Abductors Foiled U.S., 1908 DCP, b&w, silent with original music by José María Serralde Ruiz, 5 min. With: Robert Harron, Edward Dillon. The Maids’ Strike (La grève des bonnes) France, 1906 DCP, b&w, silent with original music by Renée C. Baker, 7 min. Total runtim

#Arts #MovieFilm

Meet at Kathy May's Lakeview Cafe. We'll walk Central Park West, then Central Park East across Golden West St, and visit the Secret Garden. We'll return to Central Park West for brunch at Kathy May's Lakeview Cafe. Anyone who is interested can optionally to hike the dirt trails to the Urban Forest afterwards.

CRAA D1A League Match

Made possible by the John H. Mitchell Television Programming Endowment Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Following the cancellation of his epochal Twilight Zone after five seasons, six-time Emmy winner Rod Serling re-entered primetime with an unorthodox experiment — a humanist, existential Western titled The Loner (1965–66). Created by Serling, the mostly forgotten semi-anthology series featured only a single recurring character, William Colton (Lloyd Bridges), a former Union cavalry officer roaming the West in search of meaning in the aftermath of his traumatic experiences during the Civil War. Serling envisioned The Loner as an antidote to the escapist Westerns that had once dominated television, opting instead to focus on character-driven stories that explored moral issues, including non-violent resistance and racism. When the network reportedly called for more action to be incorporated, Serling, a World War II combat veteran, went to the press, declaring that he interpreted the interference as a call to add violence to the series’ cerebral scripts. Embroiled in network controversy and too far ahead of its time in daring to expand the rigid conventions of the medium, The Loner was canceled after only one season. Viewed today, the innovative series represents a fascinating genre detour in Serling’s prolific Television Hall of Fame career, illuminating his unwavering dedication to exploring the human condition, from the gray netherworlds of the Twilight Zone to the unforgiving prairies of the old West. Join us for a trio of powerhouse Serling-penned episodes of The Loner, starring Lloyd Bridges, Tony Bill, Brock Peters and Dan Duryea. Programmed and notes written by John H. Mitchell Television Curator Mark Quigley. The Loner: “An Echo of Bugles” U.S., 9/18/1965 In this series premiere written by Rod Serling, former Union officer William Colton (Lloyd Bridges) struggles to break a deadly cycle of violence as a sadistic young gunman (Tony Bill) confronts a defeated Confederate soldier (Whit Bissell). The humanist episode establishes the titular character of Colton, a wandering veteran of conscience suffering from post-traumatic stress due to the bloody violence of the Civil War. DCP, b&w, 30 min. CBS. Production: Greenway Productions, in association with Interlaken Productions and 20th Century-Fox Television. Executive Producer: William Dozier. Producer: Andy White. Director: Alex March. Writer: Rod Serling. With: Lloyd Bridges, Whit Bissell, Tony Bill. The Loner: “The Homecoming of Lemuel Stove” U.S., 11/20/1965 In the dramatic zenith of the series, Colton (Lloyd Bridges) is unexpectedly rescued from an ambush by Lemuel Stove (Brock Peters), an African American Union soldier who has just won his freedom in the Civil War. The two fast friends soon encounter tragedy when they arrive at Stove’s hometown for a family reunion, only to find a Klan-like group has committed a deadly act of racial violence. Broadcast at the height of the Civil Rights Movement, Serling’s hard-edged teleplay serves as a timely allegory, with Brock Peters delivering a tour de force performance conveying unspeakable pain and towering strength. DCP, b&w, 30 min. CBS. Production: Greenway Productions, in association with Interlaken Productions and 20th Century-Fox Television. Executive Producer: William Dozier. Producer: Andy White. Director: Joseph Pevney. Writer: Rod Serling. With: Lloyd Bridges, Brock Peters, Don Keefer. The Loner: “A Little Stroll to the End of the Line” U.S., 1/15/1966 In this Serling teleplay with a Twilight Zone-worthy twist, Colton (Lloyd Bridges) encounters a feared expert gunslinger (Dan Duryea), seemingly out for revenge against a charlatan preacher (Robert Emhard). As the corrupt preacher holds the town in sway with his dubious sermons, acting deputy Colton must defend the immoral fraud from a seemingly imminent execution. However, the gunslinger’s tragic past dictates a different fate for the preacher. DCP, b&w, 30 min. CBS. Production: Greenway Productions, in association with Interlaken Productions and 20th Century-Fox Television. Executive Producer: William Dozier. Producer: Andy White. Director: Norman Foster. Writer: Rod Serling. With: Lloyd Bridges, Dan Duryea, Robert Emhardt. Part of: Archive Television Treasures

#Arts #MovieFilm

Admission is free. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event. Meet John Doe U.S., 1941 Director Frank Capra and screenwriter Robert Riskin’s 1941 political fantasy Meet John Doe feels more prophetic than ever. It’s got it all: a disconnected, alienated (largely white) American working class, a changing media landscape, fake news, an incipient fascist cabal and, of course, mobs.The parting shot of a disgruntled reporter (Barbara Stanwyck) — a manifesto in the form of a suicide note, written by a fictional everyman — inadvertently launches a nationwide political movement after her nervous newspaper finds a patsy to play the part (Gary Cooper). Outwardly well-intentioned, the populist movement urging goodwill and neighborliness is quickly co-opted by corrupt autocrats working from the shadows to seize power. 35mm, b&w, 129 min. Director: Frank Capra. Screenwriter: Robert Riskin. With: Gary Cooper, Barbara Stanwyck, Edward Arnold. 35mm preservation print courtesy of the UCLA Film & Television Archive. The Mortal Storm U.S., 1940 In the concluding chapter of his “Weimar Trilogy,” which began with Little Man, What Now? (1934) and Three Comrades (1938), director Frank Borzage depicts fascism’s ascendance in a small German college town following Hitler’s election to chancellor. The unleashed forces opposed to tolerance, community, reason and freedom of thought fall particularly hard on the family of a beloved professor whose Jewishness is suggested but never stated. The professor’s daughter (Margaret Sullavan) and a family friend (James Stewart) are star-crossed lovers whose resistance to fascism is framed by the film’s prologue as part of the age-old fight against “superstition” and “ignorant fears.” 35mm, b&w, 100 min. Director: Frank Borzage. Screenwriters: Claudine West, Hans Rameau, George Froeschel. With: Margaret Sullavan, James Stewart, Robert Young. 35mm restored print courtesy of the UCLA Film & Television Archive. Preservation funding funding provided by the Juanita Scott Moss Estate —Senior Public Programmer Paul Malcolm Part of: From John Doe to Lonesome Rhodes: Antifacism from the Archive

#Arts #MovieFilm