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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.\u003C/strong>\u003C/p>\n\n\u003Cp> \u003C/p>\n\n\u003Cp>Screening 1 of 2\u003C/p>\n\n\u003Ch3>The Harlem Globetrotters\u003C/h3>\n\n\u003Cp>\u003Cstrong>Year:\u003C/strong> 1951\n\u003Cstrong>Country: \u003C/strong>U.S.\n\u003Cstrong>Language:\u003C/strong> English\n\u003Cstrong>Runtime:\u003C/strong> 78 min.\n35mm. B&amp;W.\u003C/p>\n\n\u003Cp dir=\"ltr\">A promising chemistry student (played by professional basketball player Billy Brown) drops out of college to play on the Harlem Globetrotters. After an injury received while secretly marrying his girlfriend (Dorothy Dandridge) plus an arrogant attitude lose him a place on the Globetrotters, he takes a teaching job and considers playing for another team. His wife reminds him, though, how important the Globetrotters are to Black sports fans. This fun and uplifting sports film came out at a fascinating time between the “race movies” (made for Black audiences) of the 1940s and the “problem pictures” (issue films about race) of the 1950s.\u003C/p>\n\n\u003Cp dir=\"ltr\">Directors: Phil Brown, Will Jason. Screenwriter: Alfred Palca. With: Harlem Globetrotters, Thomas Gomez, Dorothy Dandridge.\u003C/p>\n\n\u003Cp> \u003C/p>\n\n\u003Cp>Screening 2 of 2\u003C/p>\n\n\u003Ch3>Bright Road\u003C/h3>\n\n\u003Cp>\u003Cstrong>Year:\u003C/strong> 1953\n\u003Cstrong>Country: \u003C/strong>U.S.\n\u003Cstrong>Language:\u003C/strong> English\n\u003Cstrong>Runtime:\u003C/strong> 68 min.\n16mm. B&amp;W.\u003C/p>\n\n\u003Cp dir=\"ltr\">A new fourth-grade teacher at an all-Black school tries to understand the internal and external struggles of a failing young student who shows promise. Harry Belafonte plays the school principal in the first of three collaborations between himself and Dandridge. The film was radical for its subtlety and internal focus, with Dandridge giving one of her most sensitive and nuanced performances.\u003C/p>\n\n\u003Cp dir=\"ltr\">Director: Gerald Mayer. Screenwriter: Emmet Lavery. With: Dorothy Dandridge, Philip Hepburn, Harry Belafonte.\u003C/p>",[],[],"Presented by the UCLA Film & Television Archive","Suzy Lee",[249],{"title":250,"sectionHandle":251,"workshopOrEventSeriesType":252,"text":253,"image":254,"to":265,"startDate":266,"endDate":267,"ongoing":268},"Dorothy Dandridge","workshopOrEventSeries","visit/events-exhibitions","\u003Cp dir=\"ltr\">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 \u003Cem>Carmen Jones\u003C/em> (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. \u003C/p>\n\u003Cp dir=\"ltr\">\u003Cem>Series programmed and notes written by Miriam Bale. \u003C/em>\u003C/p>\n\u003Cp>\u003Cbr />\u003C/p>",[255],{"image":256},[257],{"id":258,"src":259,"height":260,"width":228,"srcset":261,"alt":262,"focalPoint":263},"10827836","https://static.library.ucla.edu/craftassetsprod/FTVA/_fullscreen/carmenjones1954-fsct03.jpg",1532,"https://static.library.ucla.edu/craftassetsprod/FTVA/_375xAUTO_crop_center-center_none/carmenjones1954-fsct03.jpg 375w, https://static.library.ucla.edu/craftassetsprod/FTVA/_960xAUTO_crop_center-center_none/carmenjones1954-fsct03.jpg 960w, https://static.library.ucla.edu/craftassetsprod/FTVA/_1280xAUTO_crop_center-center_none/carmenjones1954-fsct03.jpg 1280w, https://static.library.ucla.edu/craftassetsprod/FTVA/_1920xAUTO_crop_center-center_none/carmenjones1954-fsct03.jpg 1920w, https://static.library.ucla.edu/craftassetsprod/FTVA/_2560xAUTO_crop_center-center_none/carmenjones1954-fsct03.jpg 2560w","dorothy dandridge standing next to a movie poster for carmen jones",[264,264],0.5,"visit/events-exhibitions/dorothy-dandridge","2026-12-02T00:00","2026-12-20T00:00",false,[],[],1789589202935]