Week 9

This workshop providesThis workshop provides an overview on the various forms of academic dishonesty regarding plagiarism. Participants will learn when, where, and why it is important to cite properly. Students will also learn how to avoid plagiarism and the information presented will stress the need to attribute work to the original author and the potential outcomes for plagiarizing. Additionally, paraphrasing, and direct quoting will be discussed. ZOOM. Register through MyEvents on MyUCLA.

In the 2025-26 Core Program conference, historians of the Ottoman, Qing, and Mughal empires revisit the problem of comparison by considering synchronicities and structural parallels across Asia. The second conference, "Empires in Practice," looks at Imperial Operations. How did empires work? What did the mundane, everyday operations of imperial rule look like? Early modern empires confronted the same “great enemy” of distance which severely constrained all actions, from government communications to tax collection. The solutions that the Ottomans, Mughals, and the Qing developed to address these common problems shared some essential features despite their local variations. Organized by Professors Choon Hwee Koh & Meng Zhang (History, UCLA) and Abhishek Kaicker (History, UC Berkeley).

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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. Arch of Triumph U.S., 1948 Adapted from Erich Maria Remarque’s novel and directed by Lewis Milestone who also co-wrote, Arch of Triumph finds the City of Lights shrouded in noirish fog and shadow. It’s 1938 and Paris has become the tenuous home for refugees on the run from the Nazis and French immigration to avoid deportation. Among them is Charles Boyer’s doctor who haunts the city’s cafes and recognizes a shared trauma in Ingrid Bergman’s desperate émigré. A tragic romance, Arch of Triumph does double duty dramatizing the cruelty of both facism and an immigration system that would render people stateless by denying them safe haven. 35mm, b&w, 120 min. Director: Lewis Milestone. Screenwriters: Lewis Milestone, Harry Brown. With: Ingrid Bergman, Charles Boyer, Charles Laughton. 35mm restored print courtesy of the UCLA Film & Television Archive. Restored by the UCLA Film & Television Archive in cooperation with National Telefilm Associates, Inc., and Richard Rosenfeld; funding by AFI/NEA; special thanks to Richard Dayton for his significant contributions in restoring this film. Voice in the Wind U.S., 1944 In this ultra low-budget B-film produced by Czech émigré Rudolph Monter, Friedrich Torberg plays a Czech concert pianist jailed and tortured by the Nazis for playing “The Moldau,” a symbol of the Czech resistance to their occupation. Escaping his captors and surviving a harrowing journey, he ends up alone on a Caribbean island where his trauma overwhelms him as he longs for his missing wife — dying unbeknownst to him on another part of the island. Imbued with expressionist shadows and told through a series of interwoven flashbacks, Voice in the Wind powerfully expresses the disorientation and despair of European refugees in the wake of fascist violence. 35mm, b&w, 85 min. Director: Arthur Ripley. Screenwriter: Friedrich Torberg. With: Francis Lederer, Sigrid Gurie, J. Edward Bromberg. 35mm restored print courtesy of the UCLA Film & Television Archive. Restored by the UCLA Film & Television Archive and The Film Foundation. Restoration funding provided by The George Lucas Family Foundation. —Senior Public Programmer Paul Malcolm Part of: From John Doe to Lonesome Rhodes: Antifacism from the Archive

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CRAA D1A League Match

Join the UCLA Black Alumni Association at our 2026 Winston C. Doby Legacy Scholarship Gala! More event details to come. Please check this webpage for updates.

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. The Burning Cross U.S., 1947 World restoration premiere! One of the boldest films of the postwar period to tackle homegrown facism, the independent production, The Burning Cross, was the first anti-Klan film to explicitly depict Black Americans as victims of KKK terror on screen. A newly discharged veteran disgruntled by the changes he finds in his small town gravitates to the brutes of a Klan front group, the American Only Association. The brutal realism of the film’s depiction of the rhetoric and tactics culminates in the murder of a Black family burned in their home. The film, however, is not without compromise as an opening prologue restored in this version suggests that the Klan was originally founded by “men of good intentions” who would be betrayed by a corrupt, greedy few. 35mm, b&w, 77 min. Director: Walter Colmes. Screenwriter: Aubrey Wisberg. With: Henry H. Daniels Jr., Virginia Patton, Dick Rich. 35mm restored print courtesy of the UCLA Film & Television Archive. Restored by the UCLA Film & Television Archive and The Film Foundation. Restoration funding provided by The Hobson/Lucas Family Foundation. Open Secret U.S., 1948 Released the year after both Gentleman's Agreement (1947) and Crossfire (1947) made anti-semitism their explicit subject, this independently produced film noir takes a grittier approach to the social problem despite never mentioning the word, although the implications are clear. Directed by Austrian-born émigre John Reinhardt, Open Secret unfolds as a small town mystery with a newlywed couple investigating the disappearance of the friend they’ve come to visit. What they discover is a community so corrupted by hate even children join in victimizing anyone who isn’t “the right kind of people.” Ironically, a sweaty cabal stands behind it all with ambitions to take their violent campaign to the national political stage. 35mm, b&w, 68 min. Director: John Reinhardt. Screenwriters: Henry Blankfort, Max Wilk. With: John Ireland, Jane Randolph, Sheldon Leonard. 35mm restored print courtesy of the UCLA Film & Television Archive.Preserved by the UCLA Film & Television Archive with funding provided by The Packard Humanities Institute. —Senior Public Programmer Paul Malcolm Part of: From John Doe to Lonesome Rhodes: Antifacism from the Archive

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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. Preserved by UCLA from original 2 in. video master! In a celebrated career spanning over four decades, Academy Award winner Gene Hackman (1930–2025) became recognized as one of the finest American actors of the New Hollywood era. A native Californian who relocated to New York to pursue acting in the late 1950s (with roommates Dustin Hoffman and Robert Duvall), Hackman toiled for over a decade off and on Broadway, and in dozens of small parts on film and television. By 1968, in between his star-making turns in the iconic features Bonnie and Clyde (1967) and The French Connection (1971), Hackman landed the lead role in the prestigious television anthology CBS Playhouse, in the installment, “My Father and My Mother.” Virtually unseen since its original broadcast, “My Father and My Mother” concerns a writer (Hackman) as he struggles to come to terms with decisions made in the care of his son with an intellectual disability. In seeking answers to his deep emotional crisis, the writer revisits his past, attempting to reconcile painful memories of his late parents (Ralph Bellamy, Jane Wyatt). An obscure footnote in Hackman’s oeuvre, the expressionistically staged drama (videotaped at CBS Television City) represents a creative high point in the actor’s television resume, revealing a performance of psychological depth uncommon to the small screen. In its review, the Los Angeles Times hailed Hackman as “outstanding,” noting the production was “... 90 minutes of thoughtful, well-played drama, of which there is much too little on TV these days.” Programmed and notes written by John H. Mitchell Television Curator Mark Quigley. CBS Playhouse: “My Father and My Mother” U.S., 2/13/1968 With original commercials DCP, color, 90 min. CBS. Production CBS. Executive Producer: Barbara Schultz. Producer: George Schaefer. Director: George Schaefer. Writer: Robert Crean. With: Gene Hackman, Ralph Bellamy, Jane Wyatt. Preserved by the UCLA Film & Television Archive. Engineering services by CBS Media Exchange. Part of: Archive Television Treasures

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