One of the key American media artists of the postwar era, Ken Jacobs (Tom, Tom, The Piper's Son; Star Spangled to Death) has crafted a unique, powerful and ever-evolving body of work over a career that has spanned five decades. Appropriating and reinterpreting existing media artifacts, and subverting conventional modes of presentation, Jacobs has applied his highly original techniques to both formal considerations and social and political topics with equal aplomb.

The Archive and the Academy of Motion Picture Arts and Sciences will present a series of new and recent Iranian films in conjunction with the planned visit of a group of prominent Iranian filmmakers to Los Angeles. Screenings will take place at the James Bridges Theater on October 9, 10 and 11 and the Academy's Linwood Dunn Theater in Hollywood on October 15 and 16.

The Legacy Project is a collaborative effort bringing together the Archive and Outfest to preserve and restore queer film and video. We will screen prints from this valuable and unique collection on a bimonthly basis. Outfest members receive $1 off admission at the boxoffice.

French film scholars coined the term Film Noir to describe a particular cycle of American films dealing with dark themes (crime, betrayal, fatalism, and general post-war malaise) often imbued with a signature shadowy visual style. Though less well known, and with their own distinct sensibilities and variations, British filmmakers also made some fascinating contributions to this enigmatic genre.

The UCLA Film & Television Archive and the Hammer Museum have teamed up for a matinee screening series of new and classic family-friendly films from around the world.

Spend a spooky Halloween evening at the Billy Wilder Theater with films from the vaults to chill and thrill! Founded by two Americans, Milton Subotsky and Max Rosenberg, in 1964, Amicus Productions was Britain's other horror studio for almost two decades. Tonight's program presents two classics produced by Subotsky and Rosenberg and featuring two of the biggest names in British horror, Christopher Lee in 1960's The City of the Dead (a.k.a Horror Hotel) and Peter Cushing in The Skull (1965).

This presentation of work by avant-garde filmmaker Robert Beavers represents the filmmaker's Los Angeles debut, after a career spanning from the mid-1960s to the present day, and is organized in conjunction with the Pacific Film Archive in Berkeley, who will present Beavers' complete cycle.

Over the course of the year, the Archive presents advanced screenings of new releases. FREE Admission!

In the 1920s, African American filmmakers, backed by nascent, black-controlled production companies and exhibition spaces, began to interrogate and deepen African American images onscreen, revising those produced by generally white-controlled institutions in cinema's first three decades.

It's that time of year when eager young minds return to the dorms and the hallowed halls of academe-a milieu that Hollywood has turned to again and again to take the pulse of America's youth. The Archive presents a survey of films set in college environments that explore the ever changing on-screen image of campus life as well as its recurring themes. From flapper escapades to student sit-ins, the films in this series represent the university as a place of discovery-although rarely in the classroom-where newfound freedoms can open the door to painful truths or else spontaneous song and dance numbers.

Archive screenings at the Billy Wilder Theater will be on hiatus through the months of November and December. Programming will resume in January 2008 with 'Pre-code Films from Universal Preservation,' 'Recent Documentaries from Spain,' 'The 18th Annual Celebration of Iranian Cinema' and much more.

PRE-CODE FILMS FROM UNIVERSAL PRESERVATION
January - February 2008
Join us for our latest romp through the films of pre-Code Hollywood (1929-1934). This year the Archive spotlights Universal's preservation department, featuring 12 rare films from both the Universal and Paramount Pictures libraries.

DOCUSPAIN
January - February 2008
Bold and groundbreaking recent documentaries from Spain highlight one of the most exciting centers of documentary production today. Unafraid to court controversy, Spanish filmmakers are helping to drive the form’s current global resurgence while exploring, from a distinctly local perspective, subjects such as immigration, war and music.

ART OF LIGHT
January – February 2008 For the fourth year in a row, the Archive joins with the ASC in a celebration of the art of cinematography.

18TH ANNUAL CELEBRATION OF IRANIAN CINEMA
March - April 2008
2008 marks the Archive’s 18th Annual Celebration of Iranian Cinema. The series will feature recent works from Iran and the diaspora, including both narrative and documentary films and videos which showcase the diversity of Iranian filmmaking.

FIRST MONDAYS
On ten Mondays over the course of the year, usually on the first Monday of the month, the Archive will present an advance screening of a new release. Cineclub members get in free! Filmmakers and other in-person guests will be present whenever possible.

The UCLA Film & Television Archive Public Programming is currently on hiatus, therefore no screenings are scheduled. Thank you for your continued patronage.

The UCLA Film & Television Archive Public Programming is currently on hiatus, therefore no screenings are scheduled. Thank you for your continued patronage.

The UCLA Film & Television Archive is currently on hyatus, therefore no screenings are scheduled. Thank you for your continued patronage.

Presented by the UCLA Film & Television Archive and the Los Angeles Film Festival "LA Noir" offers the iconic Los Angeles of mean streets and murder plots hatched in stuccoed Spanish Colonial mansions, for us to savor and examine anew. Film noir experts Alain Silver and James Ursini will lead an armchair excursion, fortified with plenty of movie clips, to the shooting locations of this most Los Angeles-centric of genres. Completing the "LA Noir" twofer will be PITFALL, director Andre dé Toth's astringent noir classic in which nightmare displaces the postwar American dream. --Cheng-Sim Lim, Program Curator To purchase tickets for this series please visit www.lafilmfest.com. Special thanks to: Zareh Arevshatian; Azadeh Farahmand; Ray Greene; Jeffrey Goldman; Mable Ho, Hong Kong Film Archive; Teresa Huang, Taipei Chinese Film Archive; Kim Han-sang, Korean Film Archive; Robert Koehler; Bahman Maghsoudlou; Wade Major; Mona Nagai, Pacific Film Archive; Parviz Sayyad; John Shibata, Pacific Film Archive; Alissa Simon; Cecile Tang Shu-shuen; Alain Silver; James Ursini; Tammy Chung, Korean Cultural Center, Los Angeles.

Presented by the Los Angeles Film Festival in association with the UCLA Film & Television Archive George Lucas picks his all-time favorite films. To purchase tickets for this series please visit www.lafilmfest.com. Special thanks to: Zareh Arevshatian; Azadeh Farahmand; Ray Greene; Jeffrey Goldman; Mable Ho, Hong Kong Film Archive; Teresa Huang, Taipei Chinese Film Archive; Kim Han-sang, Korean Film Archive; Robert Koehler; Bahman Maghsoudlou; Wade Major; Mona Nagai, Pacific Film Archive; Parviz Sayyad; John Shibata, Pacific Film Archive; Alissa Simon; Cecile Tang Shu-shuen; Alain Silver; James Ursini; Tammy Chung, Korean Cultural Center, Los Angeles.

Presented by the Los Angeles Film Critics Association, the Los Angeles Film Festival and the UCLA Film & Television Archive The films selected for the latest edition of "The Films That Got Away"--being presented for the first time in a collaboration between LAFCA, the Festival and the Archive--represent only a microscopic sliver of the fine work circulating around the globe that has yet to be commercially released in Los Angeles. What makes the selection difficult isn't how few films there are, but how many. It's easily conceivable to create a program of films that have gotten away strictly from single countries, such as Argentina, South Korea, Mexico, Denmark or Thailand, just for starters; or genres, such as the upcoming "The Films That Got Away" being planned around animated films. This series isn't meant as a celebration of entry, that, finally, these worthy films are in our midst, if only briefly. Rather, its intent is frankly more polemical, to remind moviegoers in Los Angeles of how many films from around the world they are routinely denied; of how many great and developing filmmakers yet to be seen in the self-proclaimed "film capital of the world;" and how every programming selection in a film festival is a political act. At the same time, these three films do belong together, and can be seen as part of a larger movement by younger directors (all of them living far from Hollywood) rebelling against the Hollywood model. Each plays with real time, contains sophisticated use of plan-sequence, embraces elliptical storytelling in lieu of easy explanations and is made with classical craftsmanship while investigating more radical, perhaps "poetic" forms. Each, as well, is the filmmaker's sophomore work. Tellingly, the people in Yu Lik-wai's ALL TOMORROW'S PARTIES, Lisandro Alonso's LOS MUERTOS and Abderrahmane Sissako's WAITING FOR HAPPINESS are all encountering various states of what it means to be free, with varying consequences. Can this freedom extend to the cinema itself, and the liberty of moviegoers to see--on the big screen--a wider range of human expression than the corporate system allows them? This is the primary question "The Films That Got Away" wishes to pose. --Robert Koehler, Variety film critic Program curated by Ray Greene, Robert Koehler and Wade Major To purchase tickets for this series please visit www.lafilmfest.com. Special thanks to: Zareh Arevshatian; Azadeh Farahmand; Ray Greene; Jeffrey Goldman; Mable Ho, Hong Kong Film Archive; Teresa Huang, Taipei Chinese Film Archive; Kim Han-sang, Korean Film Archive; Robert Koehler; Bahman Maghsoudlou; Wade Major; Mona Nagai, Pacific Film Archive; Parviz Sayyad; John Shibata, Pacific Film Archive; Alissa Simon; Cecile Tang Shu-shuen; Alain Silver; James Ursini; Tammy Chung, Korean Cultural Center, Los Angeles.

Presented by the UCLA Film & Television Archive and the Los Angeles Film Festival "LA International" makes visible a Los Angeles legacy hidden to many Angelenos, highlighting a trio of émigré directors—Parviz Sayyad, the late Shin Sang-ok (sadly deceased this April) and Cecile Tang Shu-shuen—who are quite possibly the most important Los Angeles filmmakers you may not have heard of. Pioneers who have indelibly influenced the cinemas of their places of origin—Iran, South Korea and Hong Kong respectively—they have also, by choice or necessity, led transnational and entrepreneurial careers that defy easy categorization. Perhaps their interstitial position—standing astride professional, cultural and political boundaries—accounts for their relative anonymity outside the ethnic communities of the city they now call or once called home. "LA International" pays long overdue homage to these eminent filmmakers in our midst and, regrettably in Shin's case, formerly in our midst. —Cheng-Sim Lim, Program Curator To purchase tickets for this series please visit www.lafilmfest.com. Special thanks to: Zareh Arevshatian; Azadeh Farahmand; Ray Greene; Jeffrey Goldman; Mable Ho, Hong Kong Film Archive; Teresa Huang, Taipei Chinese Film Archive; Kim Han-sang, Korean Film Archive; Robert Koehler; Bahman Maghsoudlou; Wade Major; Mona Nagai, Pacific Film Archive; Parviz Sayyad; John Shibata, Pacific Film Archive; Alissa Simon; Cecile Tang Shu-shuen; Alain Silver; James Ursini; Tammy Chung, Korean Cultural Center, Los Angeles.