Week 6

This foundational pedagogical online workshop prepares participants to create student-centered and effective lesson plans using the framework of backward design. Participants will explore the three steps of backward design–developing student learning objectives, determining assessment evidence, and choosing activities and instruction – and practice applying that structure to design of sample lesson plans. This session is open to all instructors, including faculty, TAs, and postdocs. This online workshop will be facilitated by the Teaching and Learning Center (TLC). Register to receive the Zoom link. Please contact instructorsupport@teaching.ucla.edu if you have any questions.

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This session will introduce you to the new question personalization feature available in Explorance Blue, UCLA’s course feedback platform. Please join us to learn how you can add up to five additional questions to your Student Experiences of Teaching (SET) surveys. Presenter: Cassidy Alvarado, Program Manager, Student Experience Initiatives, TLC #SET #questionpersonalization #exploranceblue #studentfeedback #newfeatures 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.

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What is trauma, and how does it impact student learning? This online workshop answers these questions with psychology and neuroscience-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. 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.

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CRAA D1A League Match

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. Under Construction (or the place where I was born no longer exists) Chile, 2000 A man watches as his neighborhood in Santiago, Chile, changes around him. Houses are sold and torn down, neighbors move away. Refusing to change with it, he invites documentarian Ignacio Agüero into his home, sharing his hobbies and personal history with the camera. Meanwhile, life continues, bringing changes within his own family — the passage of time never ceasing. Ignacio Agüero, one of Chile’s most acclaimed documentarians, made his early films during the Pinochet dictatorship. Under Construction captures a post-Pinochet Chile at the turn of the century, as the people of Santiago reflect on their country’s history through architecture, anecdotes and visions of the future. Digital, color, in Spanish with English subtitles, 77 min. Director: Ignacio Agüero. Give Me a Home Taiwan, 1991 Before his feature film debut Rebels of the Neon God (1992), Tsai Ming-liang had a brief career directing made-for-television films. Give Me a Home is one of these early works, offering glimpses of Tsai’s distinctive, lingering cinematic style soon to emerge in full definition. His television work often centered on the struggles of Taipei’s working class, as seen here. Set in 1990s Taipei, the film follows a young unhoused family whose breadwinner builds houses for others. Filming in both public and private spaces, Tsai reveals the lives of those living in the shadows, without a shelter of their own. Digital, color, in Mandarin with English subtitles, 52 min. Director: Tsai Ming-liang. Screenwriters: Tsai Ming-liang, Li Zongyu. With: Lung Chang, Ling-Ling Hsia. —Associate Programmer Nicole Ucedo Part of: (Dis)placement: Fluctuations of Home, Part II

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Presented by the UCLA Film & Television Archive and the Hugh M. Hefner Classic American Film Program In-person: Q&A with Steven C. Smith, author of “Hitchcock and Herrmann: The Friendship and Film Scores That Changed Cinema.” Book signing before the screening, beginning at 6 p.m. 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. Archive Talks pairs leading historians and scholars with screenings of the moving image media that is the focus of their writing and research. Each program will begin with a special talk by the invited scholar that will introduce audiences to new insights, interpretations and contexts for the films and media being screened. Between 1955 and 1964, filmmaker Alfred Hitchcock and composer Bernard Herrmann collaborated on eight films, including Vertigo (1958), North by Northwest (1959), Psycho (1960) and The Birds (1963), that reshaped American cinema. As the Cold War set in, censorship regimes loosened and television took its toll on the box office, Hitchcock responded to the times with stories and images that pushed Hollywood’s boundaries to attract new, younger audiences to the big screen. In Herrmann, Hitchcock found an erudite composer willing to take chances with him. Indeed, Hitchcock so trusted Herrmann's insights into the medium and music's role in it that he would adjust editing and even dialogue in key sequences to accommodate Herrmann’s scoring. In background and temperament they were unlikely partners but their work together produced some of the most enduring, visionary and influential cinema of the last century. Award-winning filmmaker and film historian Steven C. Smith dives deep into their creative relationship and the forces that shaped it in his latest book, Hitchcock and Herrmann: The Friendship and Film Scores That Changed Cinema. As part of this program, Smith will deliver an illustrated talk about these visionary collaborators before a screening of their iconic work on Psycho (1960) and a post-screening Q&A. Psycho U.S., 1960 Paramount was so unnerved by the concept for Psycho — loosely based on a magazine article about serial killer Ed Gein — that Alfred Hitchcock agreed to front the cost of production himself to get it made. By the time Hitchcock brought a rough cut to Bernard Herrmann, however, even the director had lost faith in the project. “He was crazy,” Herrmann later recalled. “He didn’t know what he had.” But the composer had “some ideas.” Herrmann’s groundbreaking minimalist score of stabbing, sweeping strings elevates the stripped down dread of Hitchcock’s images in a visionary fusion like no other. Herrmann’s score made Psycho work and then Psycho changed cinema history. DCP, b&w, 109 min. Director: Alfred Hitchcock. Screenwriter: Joseph Stefano. With: Anthony Perkins, Janet Leigh, Vera Miles. Programmed and notes written by Paul Malcolm. Part of: Archive Talks

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