ucla phd film

Production / Directing MFA

The Production/Directing program melds practical skills with deep theoretical and historical knowledge of film and digital media. Craftmanship meets creativity, all underpinned by a commitment to social responsibility.

The Master of Fine Arts degree in Production with an emphasis in Directing provides aspiring directors a rigorous three-year curriculum. The first year of the Production/Directing program lays the foundation, immersing students in collaborative filmmaking processes that cover everything from screenwriting to postproduction. By the second year, close faculty mentorship comes to the fore, enabling each student to hone their own distinctive voice across varied media formats, while also diving into cinema studies and advanced film techniques. The third-year culminates in the intensive thesis production phase, be it documentary or narrative, supplemented by a range of electives for those eager to expand their horizons further.

Students are not just enrolling in a course of study but joining the ranks of illustrious alumni like Francis Ford Coppola, Alexander Payne, and more.

World-Class Faculty

Kristy Guevara-Flanagan

Fabian Wagmister

The Program

THE ART OF COLLABORATION The first year of the program introduces students to foundational skills and collaborative processes for all aspects of filmmaking. The curriculum includes screenwriting, directing, documentary, cinematography, editing, postproduction and production planning, as well as exposure to critical and historical contexts for media making and study.

FACULTY MENTORSHIP In the second year of the program, students work closely with faculty mentors to deepen their understanding of production techniques and impactful storytelling strategies. Each student will have the opportunity to write, direct, edit and realize their own vision with creative projects in fictional narrative, documentary, digital media or experimental film, while also taking courses in cinema and media studies and advanced filmmaking techniques.

THESIS PRODUCTION In the third year, students focus on their thesis production, which may be in documentary or narrative form. Although the majority of the third year is devoted to writing, planning, shooting and editing the thesis film, students also have the option of taking elective classes to deepen their skills and broaden their exposure to adjacent areas of study (screenwriting, producing, animation, digital media, etc.).

Please note: We are currently undergoing a comprehensive curriculum review. The courses listed below represent a sampling of the kinds of courses that we expect to offer in relation to the Production/Directing specialization. Program requirements are currently under revision and will be updated as we complete our process of curriculum review.

Required and elective courses may include but are not limited to the following:

• Introduction to Directing/Coverage
• Direction of Actors for Film and Television
• Advanced Direction of Actors for Film and Television
• Advanced Coverage
• Directing Actors for Camera
• Writing Short Screenplays
• Advanced Writing for Short Film and Television
• Advanced Narrative Directing Workshop
• Advanced Documentary Workshop
• Advanced Abstract/Experimental Media Workshop
• Costume Design
• Design for Film and Television
• Film Analysis
• Introduction to Immersive Documentary
• Documentary Research Methodologies
• Business of Documentary
• Introduction to Cinematography
• Intermediate Cinematography
• Advanced Cinematography
• Digital Cinematography
• Lighting for Film and Television
• Cinematography and Directing
• Emerging Techniques and Technologies in Cinematography
• Digital Workflow
• Digital Manipulation on Set and Post
• Avid Editing
• Advanced Film Editing
• Post Production
• Post Production Sound Design
• Digital Audio Postproduction
• Introduction To Feature Film Writing
• Introduction to TV Writing
• Feature Film Writing
• Contemporary Topics in Theater, Film and Television
• Special Topics: Transnational Cinema
• Special Topics: Realism
• Special Topics: Alternative Media Praxis
• Digital Imagery and Visualization
• Introduction to Virtual Reality
• Advanced Digital Media Workgroup
• Thesis Preparation
• Career Strategies

In addition to required and elective coursework in Production/Directing, students also have the opportunity to take courses in other specializations within FTVDM. All program and departmental requirements (such as Cinema & Media Studies seminars, classes in outside specializations, and/or shared departmental classes) are typically completed no later than the quarter in which the advancement to candidacy takes place.

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UCLA is accredited by the Western Association of Schools and Colleges and by numerous special agencies. Information regarding the University's accreditation may be obtain from the Office of Academic Planning and Budget, 2107 Murphy Hall.

• Screenwriting

IN THIS SECTION

SCREENWRITING

The Professional Program in Screenwriting is UCLA's only graduate-level non-degree screenwriting program that has oversight by the UCLA School of Theater, Film & Television.

Learn from renowned UCLA School of Theater, Film &d Television MFA Screenwriting Program faculty and receive:

• A world-class screenwriting education in three quarters
• An intimate classroom environment with a maximum of 10 students per workshop
• Guidance from initial story concept through navigating the industry

Upon successful completion of the program, students receive a certificate from the UCLA School of Theater, Film & Television.

Deadline Dates

International student deadline: June 17, 2024

US student deadline: Late applications are currently being accepted. If s spot is open in the program, they will be considered. 

Tuition:  $6,750

The Professional Program in Screenwriting takes place over three academic quarters. Students view a weekly lecture series, attend a weekly live zoom Q&A series, and attend an in-person on campus screenwriting workshop each week.

2024-2025 Schedule

The lecture series.

The Recorded Lecture Series - is taught by UCLA instructors and covers every aspect of the process from initial concept though rewrite.

The Live Q&A -   Students will attend a live Q&A session on Zoom  with one of our lecture series instructors on Monday nights at 7pm Pacific Time to ask any questions they may have after viewing the recorded lecture.  Guest speakers from the film industry will visit the Live Q&A to discuss the state of the business and how to approach it as a new writer.

Class and lecture guests have included Meg LeFauve ( Captain Marvel,   Inside Out , The Good Dinosaur ), Billy Ray ( Richard Jewel, Terminator: Dark Fate, Overlord,   The Hunger Games , Captain Phillips, Gemini Man ),  Damon Lindeloff ( Watchmen ,  Tomorrowland , The Leftovers , Lost ), Sacha Gervasi ( The Terminal, My Dinner with Herve, November Criminals, Anvil ), Steven Canals (Writer/Producer/Director Pose), Marissa Matteo (Writer/Producer Bull), Justin Hillian ( Writer/EP The Chi, Snowfall), Felischa Marye ( Writer/Producer Bigger, 13 Reasons Why ), Craig Borten ( The Dallas Buyers Club ), Joe Manganiello (Zach Snyder’s Justice League, True Blood), Ed Solomon ( Men in Black , Now You See Me, Bill and Ted) , Michael Colleary ( Face/Off ), Nancy Oliver ( Lars and the Real Girl, True Blood ), Paul Haggis ( Crash, Quantum of Solace, Walker ), Dan Futterman ( Capote ), Scott Kosar ( The Machinist, The Haunting of Hill House, The Crazies, The Amityville Horror ), Tom O’Connor (Writer/EP The Courier, The Hitman’s Bodyguard,The Hitman’s Bodyguard’s Wife), Joan Wai (Director of Nicholl Fellowhips in Screenwriting), Jeanne Mau (Senior VP, Viacom CBS Global Inclusion), Liz Kelly (Disney, Manager of Creative Talent and Inclusion), Barbara Curry ( The Boy Next Door, Interrogation ), Nicole Riegel ( Holler ), Keith Sharon ( Showtime, Finding Steve McQueen) , Maggie Malone (Frozen II, Ralph Breaks the Internet, Moana, Zootopia, Big Hero 6 ), Kranti Kanade (CRD), and many agents and managers.

The Workshop

The three-hour screenwriting workshop is limited to no more than ten students per class, and focuses on roundtable readings and an analysis of each student's work.   In Fall Quarter, students are introduced to the concepts of story and structure. They develop their stories in the weekly workshop and begin writing an original feature-length screenplay.   In Winter Quarter, students complete their first screenplay.   In Spring Quarter, students are assigned to a new workshop instructor and they are guided through the creation and completion of a second original feature-length screenplay.   Students who successfully finish the program receive a certificate of completion from the UCLA School of Theater, Film and Television.

Date & Time

Tues., Weds., or Thurs. (depending on student schedules), 7:00 pm - 10:00 pm Pacific Time.

Apply Online

Applications are now available for the 2024-2025 program.

Acting for the Camera Directing Producing Screenwriting Screenwriting Online Writing for Television Writing for Television Online Writing for Late Night Comedy Advanced Workshops

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Archival Studies

• UCLA Library

Below is a list of academic and professional programs for audiovisual media archiving (this list is not comprehensive).

North America

UCLA Graduate School of Education & Information Studies (M.L.I.S.)

Los Angeles, CA

UCLA offers a Master of Library & Information Science (M.L.I.S.) degree program with various areas of specialization that include Media Archival Studies. For inquiries about admissions or student services, please contact the GSE&IS Office of Student Services at (310) 825-8326.

New York University | Moving Image Archiving and Preservation (M.A.)

New York, NY

The Master of Arts degree program in Moving Image Archiving and Preservation is a two-year, interdisciplinary course of study that trains future professionals to manage and preserve collections of film, video, digital, and multimedia works. MIAP is situated within New York University’s Department of Cinema Studies, part of the Kanbar Institute of Film & Television in the acclaimed Tisch School of the Arts.

The L. Jeffrey Selznick School of Film Preservation (M.A. or Certificate)

Rochester, NY

The L. Jeffrey Selznick School of Film Preservation offers a one-year certificate course and a two-year M.A. program in partnership with the University of Rochester. Students of the Selznick School learn the arts and sciences of film and media preservation at the Eastman Museum.

Ryerson University | Film and Photography Preservation and Collections Management (M.A.)

Toronto, Canada

Ryerson’s F+PPCM program provides a rigorous and intensive professional education of applied and theoretical courses in the history, technology and intellectual organization of image and audiovisual collections. The two-year course of study includes an internship and a second-year residency in a growing list of international partner museums and institutions.

University of Amsterdam | Preservation and Presentation of the Moving Image (M.A.)

Amsterdam, The Netherlands

Preservation and Presentation of the Moving Image is an accredited degree programme of the dual M.A. in Media Studies. Upon successful completion of the programme, graduates receive a legally accredited M.A. degree in Media Studies, and the title of Master of Arts (M.A.).

Staatliche Akademie der Bildenden Künste Stuttgart | Conservation of New Media and Digital Information (B.A. and M.A.)

Stuttgart, Germany

Students can learn the possibilities of long-term preservation of analogue and digital photographs, video recordings and digital archival cultural heritage in a B.A. program (launching in 2021) or a two-year, graduate M.A. program.

Hochschule für Technik und Wirtschaft Berlin  |  Conservation and Restoration (M.A.)

Berlin, Germany

Tainan National University of the Arts | Graduate Institute of Studies in Documentary and Film Archiving (M.A.)

Tainan City, Taiwan

Two-year graduate program with emphasis on film archiving and preservation, and the role of documentary as an audio and visual file offering historical perspectives.

Charles Sturt University  |  Audiovisual Archiving (Certificate)

Designed and delivered in partnership with the National Film and Sound Archive of Australia, this degree focuses on the acquisition, collection, maintenance and preservation of audiovisual materials in analogue and virtual environments.

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General Catalog

Film and television ma, cphil, phd.

Film & TV

From big dream to screen, we help creatives turn their passion into profit..

Whether you're looking to work in front of the camera, behind the scenes, or both, we offer top training in acting, cinematography, directing, producing, the business of entertainment, and much more.

Our award-winning instructors (many of them Oscar, Emmy, or Grammy winners themselves), give you more than a theoretical education. They show you how to get started, get the job, and make your mark.

We offer industry exposure and access in the form of internship opportunities and student screenings, including our UCLAx Film Fest , as well as networking and pitch night events.

The proof is in the pudding: many of our students go on to work at top entertainment companies, or become award winners or nominees themselves.

LOW COST 3-HOUR ONLINE SEMINAR

Crafting Story With AI

Explore the dynamic relationship between AI and screenwriting and learn about AI as a tool for screenwriters.

July 20, 2024 Saturday, 1:00PM-4:00PM PT

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A certificate offers in-depth study of a professional field through coursework that balances theory and practice, providing learners knowledge and expertise in less time than many traditional postgraduate degrees. A specialization is a short series of courses designed to help you quickly gain knowledge in a focused area of study and acquire in-demand skills sought by employers.

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• United States

UCLA School of Theater, Film and Television (TFT) Reviews & Admissions Statistics

• Updated Jan 21, 2024
• Tags animation cinema and media studies cinematography documentary mfa mfa film and television producers program production design screenwriting screenwriting mfa ucla
• Ph.D. Program
• Animation & Digital Arts
• Cinematography
• Digital Technologies and Emerging Media
• Documentary Filmmaking
• Film & Television Production
• Film Studies
• Screenwriting

Film School details

• Student owns all copyrights
• Sound Stage(s)
• Green Screen
• Editing Bays
• Screening Rooms
• School Organizes Film Festival
• No (Undergrad Only)
• 2 (Undergrad)
• 3 (Graduate)

UCLA Film School: How to Apply for 2024, Acceptance Rate, and What To Expect as a UCLA TFT Student

• Oct 14, 2023
• Comments: 1
• Category: Applying to Film School

UCLA TFT Producers Program, Demystified: Spotlight on Keenan Kunst, Graduate Student

• Mar 30, 2021
• Category: Film Student Interviews

Undergraduate Application Requirements

• Transcripts
• Personal Essay
• Life Challenge Essay
• Critical Essay or Creative Writing sample
• 2 Letters of Recommendation

Apply to Film, Television & Digital Media (BA) - UCLA School of Theater, Film, and Television

Graduate Application Requirements

• $135 application fee
• Statement of Purpose
• Personal Statment
• 3 Letters of Recommendation

Film, Television and Digital Media - UCLA School of Theater, Film, and Television

Tuition details, notable alumni.

• Francis Ford Coppola (The Godfather, Apocalypse Now, Bram Stoker’s Dracula )
• David Koepp - writer-director ( Jurassic Park, Mission: Impossible, Spider-Man, Secret Window )
• Mariska Hargitay - actress-producer ( Law and Order: SVU )
• Pietro Scalia - editor ( American Gangster, Black Hawk Down, JFK )

Scholarship Opportunities

Latest Film School Reviews

• 5.00 star(s)
• Jan 24, 2023

UCLA Screenwriting

• Good teachers
• UCLA bureaucracy

I wanted to correct the record a bit: I'm a first year in the Screenwriting program and, so far, I'm very happy with the decision I made. The school attracts a lot of thoughtful, friendly and conscientious students and its rigor seems to be underrated. As opposed to its private peers, UCLA is incredibly democratic. Every student gets a fair shot and there doesn't seem to be a lot of chatter about who is the son/daughter of someone wealthy or famous. I understand that this can come at the expense of certain networking perks but it makes for a peaceable and meritocratic environment. Everyone in the program is pretty impressed with our professors. Each brings a different outlook and vibe to the table. Their standards are high and, sometimes, they do instill fear in students. But most agree that this is effective: no one feels comfortable slacking and a solid learning curve is going to come with some stress and fear. The commitment and presence these teachers bring, given that they all have careers outside of UCLA, is really surprising and they do care about making you into a better writer. In this program, you write more than the others. As you probably know, there's no better way to improve your writing than... writing... a lot. After the curriculum overhaul, the school seems to be a lot better about having students interact with students outside their program. This has been a really fun part about the program. Overall: high praise. I'd make the same decision again.

• May 29, 2020

The Right Move For Me

• Writers Room experience
• Creating Portfolio with Samples
• Transition to LA
• Internship Possibilities
• TA Positions/Funding
• Two-Year Program

I have loved this program so far! For me, it was the right move. Coming from out-of-state, I learned a lot about LA and housing, but it could have been worse. With the loans from FA, I was able to move relatively stress-free. I have met like-minded individuals who are hungry to make a career for themselves in this industry. The professors are incredibly helpful, intelligent, and know what they're talking about. They care about students and their success. The one thing I wish the program did a better job of was connecting us to industry professionals with the intention of getting our work out there. I feel like they should want their alumni to do well in the industry, so a little bit of a push would be great. But at the same time, they offer real advice about breaking in. It's tough but they are supportive.

• Feb 12, 2020

UCLA's program is top notch with wonderful filmmakers and well designed.

• Los Angeles
• Great Campus
• You own the films you make
• The curriculum is well designed and keeps you advancing
• The cohort is small and becomes a close family
• Only 24 people are accepted a year, so it is very selective
• Since it is small, teacher focus on you and become invested in your success
• It is more affordable than a private school
• The facilities are not as fancy as some other updated schools

Hi! Thanks for your sharing! I’m wondering since it’s a 3-4year program, what may cause the student spend 4 years finishing the program? Does it happen frequently? Or most of the students finish in 3 years?

Related Threads

• Apr 20, 2024
• Decisions - Where should I go to Film School?

• Sep 16, 2022
• General Film School Discussions

• Jan 10, 2023
• FilmSchool.org Announcements

• Chester Copperpot
• Oct 20, 2021

• Jul 18, 2019

Latest questions

• Nov 13, 2023

Does anyone have tips for the portfolio?

• RoseOfAberlone
• Jul 7, 2022

Would anyone be willing to upload their application materials? Trying to figure out what a successful application has looked like

Latest Accepted Applications

Admitted (w/o interview)   sample mfa application 2019.

• Visual Samples (Video)
• Jan 15, 2019
• Updated: Aug 23, 2024
• Reaction score: 1
• Comments: 2

Admitted but Not Attending (After Interview)   Film MFA 2024

• Aug 6, 2024

Attending (Off Waitlist w/o Interview)   USC Writing for Screen and Television - Fall 2024

• Jan 8, 2024
• Updated: Aug 2, 2024
• Reaction score: 2

Admitted (After Interview)   NFTS VFX 2025 JAN ENTRY

• katakotomba
• May 28, 2024

Admitted (After Interview)   USC Production - Fall 2024 Transfer Student

• Writing Samples
• May 24, 2024
• Comments: 5

Unread posts

• Patrick Clement
• Mar 27, 2018
• Money, Financial Aid, & Scholarship Questions

• Jan 11, 2024
• Film School Application Year Threads

• Mar 16, 2022
• Monday at 4:27 AM

Acceptance Data

• AFI Conservatory - American Film Institute
• USC - Film and Television Production (MFA)
• Columbia University - Screenwriting/Directing (M.F.A.)
• NYU - Tisch Film and Television (M.F.A.)

Film School information

225 Charles E Young Dr N, Los Angeles, CA 90095

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Study Reveals Membrane Behavior Impacting Water-Purification Performance

Aug 30, 2024

Desalination can help provide much-needed freshwater to communities lacking access, but the process can be difficult at scale. Now, scientists have discovered one of the reasons behind that difficulty.

Roughly 80% of the world’s desalination involves the use of reverse osmosis — a water-purification process utilizing a semi-permeable membrane to separate water molecules from other undrinkable substances. Engineers and scientists around the world have leveraged thin-film-composite reverse-osmosis membranes, essential in reverse osmosis, for more than 40 years. 

A multi-institutional research team from the UCLA Samueli School of Engineering, the University of Wisconsin-Madison, Yale University and the University of Connecticut has recently published a study investigating the behavior of the membranes as governed by their viscoelastic properties.

Published in the Journal of Membrane Science , the study looked at the compaction (the process by which the polymer membranes increase in density under pressure) and relaxation (the corresponding decrease in density when pressure is relieved) involved in reverse osmosis.

The researchers found that by increasing the crosslinking-degree, or density of polymers in the polyamide layer, the membrane will exhibit decreased compaction and increased relaxation, thereby improving water permeability and salt rejection. Polyamide, known for its use as a versatile material, is a type of synthetic polymer composed of long chains of molecules linked together by specially arranged atoms known as an amide group. 

Findings from the research have the potential to alleviate some operational challenges of the desalination industry by highlighting the importance of developing new reverse-osmosis membrane materials with enhanced compaction resistance to improve long-term desalination performance.

Erik Hoek , a professor of civil and environmental engineering at UCLA Samueli, and Ying Li, an associate professor of mechanical engineering at the University of Wisconsin-Madison, are the co-corresponding authors.

“Mechanistic studies like this one can provide practical insights not just about how a reverse-osmosis membrane can be damaged at high applied pressure, but also how new membrane materials might be designed to withstand such harsh operating conditions,” said Hoek, who directs UCLA’s Nanomaterials & Membrane Technology Research Laboratory , which explores membrane formation and application for water treatment.

To examine the polyamide layer’s role in compaction, the team created five reverse-osmosis membranes with varying degrees of crosslinking in the polyamide film. These membranes, all supported by identical base layers, demonstrated that higher crosslinking resulted in lower water permeability, higher salt rejection, less compaction and better recovery of permeability when pressure was reduced.

The study’s primary authors are Jishan Wu — a postdoctoral researcher in Hoek’s lab — and Jinlong He of the University of Wisconsin-Madison. Other authors on the paper are members of Hoek’s lab — postdoctoral researchers Derrick Dlamini and Javier Alan Quezada, graduate students Xinyi Wang and Minhao Xiao, as well as undergraduate students Kay Au, Kevin Guo and Jason Le. They are joined by Hanqing Fan, Kevin Pataroque and Menachem Elimelech from Yale University, as well as Yara Suleiman and Sina Shahbazmohamadi from the University of Connecticut. 

Xiao recently received a fellowship from the American Membrane Technology Association and the U.S. Bureau of Reclamation for his membrane-related research in innovations for water treatment. 

The study was funded by the National Alliance for Water Innovation through the U.S. Department of Energy’s Industrial Efficiency and Decarbonization Office, the UCLA Samueli School of Engineering and the UCLA Sustainable LA Grand Challenge.

An announcement of this study was first published by Water Desalination Report and adapted for this story.

Application Checklist Overview

As of August 18, 2024: The UCLA Fielding School of Public Health will now have one required application for the MPH*, MS and PhD degrees in each department. Applicants should complete the requirements for the SOPHAS application as noted below. Incomplete applications cannot be reviewed.

The priority deadline for matriculation in 2025 is December 1, 2024 . If you are applying after this date, please contact the department directly to ensure that applications are still being received.

*MPH – this does not apply to the Executive MPH or the MPH-HP programs. This also does not apply to the MHA or MDSH programs.

Step 1: SOPHAS Application

The primary application system for applicants is SOPHAS, the common application for public health schools. Please submit the following materials here :

• Resume or curriculum vitae (CV)
• Statement of Purpose – Maximum of 1500 words. The statement should describe the following: a) reasons for interest in public health, b) reasons for interest in the program of study and/or concentration; c) reasons for interest in UCLA; and d) career goals. If you are applying to a doctoral program, you should include your proposed research topics.
• Personal Statement – Maximum of 500 words. The personal statement is an additional opportunity for the reviewing committee to learn more about any challenges faced, personal background, and past and future contributions to diversity. Full information can be found on SOPHAS. Applicants should address one or more prompts in the personal statement.
• Applicants with less than three years of post bac professional experience should submit a minimum of two academic letters and one professional letter. 
• Applicants with more than three years of post bac professional experience may elect to submit three professional letters.
•  Applicants with less than three years of post bac professional experience should submit a minimum of one academic letter and two professional letters. 
• Applicants with more than three years of post bac professional experience may elect to submit three professional letters
• Official Transcripts – Applicants should submit one set of official transcripts from each institution they have attended. International applicants must submit transcripts through World Education Services (WES) for an official WES evaluation.
• Official GRE Test Scores* — Please check here to determine GRE requirements. ETS code is: 4225.
• Official TOEFL or IELTS scores – Applicants may view English proficiency requirements here . TOEFL code for SOPHAS is: 5688 IELTS code for SOPHAS: See instructions on submitting your scores to SOPHAS here
• Writing Sample – This component is only necessary for doctoral applicants applying to the Department of Community Health Sciences or the Department of Health Policy and Management.
• SOPHAS Application Fee – The fee is nonrefundable. The amount will vary according to the number of applications submitted.

For questions about the application process please contact SOPHAS at:

SOPHAS P.O. Box 9111 Watertown, MA 02471 Telephone: 617-612-2090 Email: [email protected]

For Overnight Delivery of Materials Only: SOPHAS c/o Liaison International 311 Arsenal Street Watertown, MA 02472

Step 2: UCLA Division of Graduate Education Application Fee

All applicants to UCLA must complete the UCLA Division of Graduate Education application. The information you submit through SOPHAS (step 1) will be transferred over to the UCLA graduate application. However, all applicants must also submit the UCLA application fee in addition to the SOPHAS application fee. The fee is nonrefundable.

Letters of recommendation, transcripts, test scores, professional experience, resume, and supporting should ONLY be uploaded to SOPHAS . 

An application will not be reviewed until both the SOPHAS fee and UCLA graduate application fee have been paid.

** Applicants should receive a separate email from UCLA Division of Graduate Education (DGE) with instructions on how to pay the UCLA DGE application fee. Those applying in August will receive an email in September. 

Application Requirements for Executive Programs:

Applicants to the MPH-HP, EMPH, MHA and MDSH programs are only required to submit the UCLA Division of Graduate Application. If you are applying to any of these programs do not complete a SOPHAS application.

Application Requirements for Joint Degree Applicants:

Prospective applicant applying to MPH Joint Degree

• Submit the SOPHAS Application and pay the application fee.
• Please ensure you fulfill the joint program's application requirements.

**Applicants should receive a separate email from the UCLA Division of Graduate Education (DGE) with instructions on how to pay the UCLA DGE application fee. Those applying in August will receive an email in September. 

Current UCLA Graduate Students Applying to MPH Joint Degree

• Submit the UCLA Graduate Application and ensure you select to be considered for a fee waiver on the fee waiver section of the application. Upon submitting the application, please then reach out to Sukhwinder Sagoo or Jose Ruiz-Rodriguez regarding the fee waiver. 
• Submit a Change of Major petition. Please contact  Sukhwinder Sagoo or Jose Ruiz-Rodriguez for more information on completing this requirement. 

**Please do not pay the UCLA Graduate Application fee as the application fee is non-refundable.

Current UCLA School of Medicine Students applying to MPH Joint Degree

• UCLA MPH/MD or Prime MD students can apply to the MPH program by December 1st of their second year under the new Discovery curriculum. 

Current UCLA Law School Students applying to MPH Joint Degree

• Submit the UCLA Graduate Application and pay the application fee.

MLIS Internship Program

The UCLA Department of Information Studies operates a dynamic and progressive internship program. This program provides students enrolled in the MLIS or Ph.D. degree programs with a wide range of opportunities to apply their knowledge and skills in a structured professional environment under the supervision, guidance and mentoring of current practitioners in the information profession.

The internship program has been in place since the 1970s and has grown to include nearly 250 sites. Our Los Angeles location allows us to offer an exciting and diverse range of local internship sites. Our program is highly regarded among local organizations and companies. Among those working with UCLA to offer internships to our students are:

• Getty Conservation Institute  (AATA & GCI)
• Getty Research Institute (GRI)
• Go For Broke National Education Center
• HBO Archives
• Illumination Entertainment
• Inglewood Public Library
• Jet Propulsion Laboratory  (JPL)
• Jewish Historical Society of Southern California
• La Historia Historical Society
• Long Beach City College Library
• Los Angeles City College  (LACC)
• Los Angeles County Museum of Art  (LACMA)
• LACMA – Digital Preservation (CIDA)
• Los Angeles Harbor College  (LAHC)
• LA Law Library
• LA Metro Transportation Research Library & Archive
• Los Angeles Public Library  (LAPL)
• Natural History Museum of Los Angeles County  (NHM)
• NBCUniversal
• Palos Verdes Library District
• RFK Community School
• Rio Hondo College
• San Francisco Cinematheque
• Santa Monica College Archives
• Santa Monica Public Library  (SMPL)
• Scripps College – Ella Strong Denison Library
• SFPL Jail & Reentry Services
• Simon Wiesenthal Center, Museum of Tolerance
• Skid Row Museum
• Skirball Cultural Center
• Social and Public Art Resource Center
• UCLA Arts Library
• UCLA Chicano Studies Research Center
• UCLA Film & Television Archive
• UCLA Powell Library
• UCLA Law Library
• UCLA Library Preservation
• UCLA Library – Resource Acquisitions & Metadata
• UCLA Library Special Collections/Center for Primary Research & Training
• University of Sydney, Fine Arts Library
• USC Libraries
• USC Library Special Collections
• USC ONE Archives
• USC Hugh M. Hefner Moving Image Archive
• Visual Communications
• Wende Museum
• Windward School
• William Andrews Clark Memorial Library

Forms and Dates

Internship hours must be completed during the quarter in which the student is enrolled; regular academic year quarters are ten weeks, and summer sessions may be six, eight, or ten weeks. See the  Annual Academic Calendar  for term start and end dates.

Agreement to Supervise an MLIS Intern/Fieldwork  (PDF)

Suggested Practices for Site Supervisors  (PDF)

Internship Evaluation Criteria  (PDF)

Internship Evaluation Form  (for supervisors) (PDF)

Internship/Fieldwork Site Application  (Google Form)

Become a Fieldwork Site

Interested in working with our skilled and motivated graduate students as a new Fieldwork or Internship site? The first step is to complete the online Internship/Fieldwork Site Application . The Department’s requirement for a 4-unit Internship (IS498) or Fieldwork (IS497) course is a minimum of 120 hours per quarter of responsible work at the professional level, supervised and evaluated by a qualified and appropriately credentialed professional in an information agency, archive or library approved by the Department. Internship supervisors typically hold an MLIS degree. Fieldwork supervisors must be professionals with appropriate training or credentials to oversee the type of experience offered, and will work with an instructor of record from the IS department faculty (either the student’s academic advisor or another faculty member with relevant expertise). For more information, please contact Dee Winn, the Internship Coordinator, at [email protected] .

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Call for Proposals Thinking Gender 2025

Thinking gender 2025, “gendered labors and transnational solidarities”, march 5–7, 2025.

CALL FOR ABSTRACTS

Submission due date: Sunday, October 20, 2024, at 11:59 pm PDT

Apply Online

The UCLA Center for the Study of Women|Barbra Streisand Center invites proposals for our 35th annual Thinking Gender Graduate Student Research Conference (TG25).

This year’s conference theme, “ Gendered Labors and Transnational Solidarities ” highlights the rich repertoire of organizing strategies as well as contemporary and historical examples of campaigns led by precarious workers around the world. We invite proposals that employ a transnational feminist lens and that consider how workers have persisted in challenging injustice and demanding dignity by forming alliances across local, regional, and transnational contexts. We seek to bring together feminist, queer, and BIPOC scholars, artists, and organizers to reflect upon the meanings of labor solidarity and care to imagine a more livable society.

Workers have long been united in transnational solidarities. The urgency of transnational solidarities has increased in the wake of late-twentieth-century globalization, which has reshaped workers’ migration pathways, conditions of labor, and activism. Financialized capitalism has led to new labor regimes that disproportionately rely on a feminized and racialized workforce. The rise in low-paid contingent service work and outsourced manufacturing work has been accompanied by erosion of labor laws and social safety nets. Furthermore, stringent immigration regimes are exacerbating the precarity and labor exploitation of immigrant women of color and poor women in the Global South. However, these precarious workers have also been on the frontlines of labor organizing. For example, even though domestic workers have long been considered “unorganizable” because many lacked documentation status and worked in private households, domestic workers’ leadership has been central to expanding labor rights at both national and inter-governmental levels. In 2011, their efforts led to International Labour Organization Convention 189, the first global treaty establishing labor standards for domestic workers. In addition to demanding dignity on the job, precarious workers have also organized for social justice more broadly. Recently, Hyundai construction workers in South Korea began striking in solidarity with Palestinian people, calling attention to the connections between labor, settler colonialism, war, and ongoing effects of empire. Workers have also addressed injustices based on race, sex, sexuality, and citizenship status across local, regional, and international scales.  We invite works that examine labor organizing through a transnational feminist lens, centering innovative strategies and campaigns workers have been building to forge solidarities across different parts of the world.

Possible questions for engagement include:

• How does a transnational feminist lens apply to labor organizing? How do categories such as race, class, gender, sexuality, nation, dis/ability and citizenship status, among others, affect how labor is defined and how workers organize?
• How have histories and ongoing struggles around settler colonialism, war, slavery, and unequal economic development shaped labor movements?
• How have workers who have been historically excluded from labor protections – such as workers in factories/sweatshops, households, and agriculture, and now most recently in gig work – organized transnationally? What is the significance of the scale of their organizing efforts?
• What is the role have unions played in transnational labor feminisms? What other alternative strategies have women workers and other precarious workers employed to organize?
• What possibilities and challenges have precarious workers found in international organizations, institutions, and laws?
• What are the relationships between family and work? How do family relationships shape labor migration as well as precarity workers face? How do workers navigate the often gender-specific burdens of financially supporting the family? How have workers formed alternative communities/kinship networks of support?
• What are the political implications of defining care? What are some examples of caring activities that go into organizing?
• How do caregivers, consisting mostly of workers experiencing precarity because of gender, immigration status, race and ethnicity etc., also receive care?
• What are some ways in which society as a whole can reciprocate the labor of care that is already foundational to the survival and well-being of community members around the world?
• How can researchers amplify workers’ own voices and stories rather than imposing top-down solutions? What are some examples of research centering workers?
• How do workers build solidarities with one another? How do they integrate the concepts of mutual aid and care?

We encourage applicants to think within, alongside, beyond, and perhaps against the following topics as they consider the shape and content of their prospective participation in TG25:

• Historical and contemporary forms of social movements
• Queer and LGBTQIA organizing
• Maquiladora activism in the US/Mexico border
• Law and protection
• Anti-sweatshop movements
• Local, regional, and global practices of activism and organizing
• Transfer of economies, objects, and people
• Local, regional and global development projects
• Community building
• Kinship and family
• Affective economies and labor
• Immigration and citizenship
• Care and social reproduction
• Settler colonialism, war, and dispossession
• Environmental degradation
• Critical refugee studies
• Migration and gender
• Cultural productions and performance
• Disability and curative violence
• Aging and care homes
• Embodied practices of healing

Graduate students have two ways to participate in this conference:

1. Hybrid workshops for works-in-progress on Wednesday, March 5, 2025 

Participants will workshop works-in-progress in closed online sessions either via Zoom or in person at the UCLA campus on Wednesday, March 5, 2025. Each workshop will include up to four graduate students, a faculty moderator, and up to three observers from other workshops, who will read and provide detailed feedback and questions for each submission. All participants will be asked to read or view each other’s submissions in advance. Participants will then convene with a faculty moderator who will offer constructive feedback and facilitate discussion around each submission.

All workshop participants will be required to submit the final version of their work-in-progress (not to exceed 20–25 double-spaced pages) by Sunday, February 2, 2025, for pre-circulation among their co-participants and faculty moderator. Please only submit your work for a workshop if you are prepared to have a final draft ready for circulation by this date. 

2. In-person presentations on Friday, March 7, 2025

Participants who submit a proposal for work that will be completed a month before the conference date will give a public presentation of their finished projects at a panel on the UCLA campus on Friday, March 7, 2025. In addition, participants will take advantage of other in-person activities offered at the conference.

We welcome a range of submission formats from graduate students , including scholarly papers, works in hybrid critical/creative genres (e.g., multimedia projects, performance, experimental forms of academic writing), and film/mixed media. In celebration of embodied practices of healing led by workers’ organizations, worker-centered artwork would fit particularly well for this year’s call.

Submission Guidelines

Eligibility

Registered graduate students from any institution are eligible to submit abstracts or synopses of scholarly papers, works in hybrid critical/creative genres (e.g., multimedia projects, performance, experimental forms of academic writing), or film/mixed media to present or workshop. Applicants cannot submit multiple proposals and must choose if they will present completed works or works-in-progress. Only one submission per applicant will be considered.

Please only submit if you are available for the full day , since we cannot confirm which time the panel/workshop will be until later in the planning process.

Submissions of works that are collaborative or co-authored with other students are welcome.

Unpublished submissions are preferred . Recently published and forthcoming articles will be considered on a case-by-case basis.

Submissions that are not directly related to the theme, “Gendered Labors and Transnational Solidarities” will not be considered.

Due date for Abstract/Synopsis Submissions: Sunday, October 20, 2024 at 11:59 pm PDT.

Applicants whose submissions are accepted will be notified by Friday, December 6, 2024.

Application Materials

All proposals must be submitted using the online application form .

Only complete submissions received by the due date will be considered.

Scholarly Paper, Dissertation or Thesis Chapter, or Article Draft Application Requirements:

1. Abstract (max. 250 words) of work to be presented/workshopped that includes: (1) a thesis/research question, (2) methods, (3) theoretical framework, and (4) conclusions or anticipated conclusions.

2. Works Cited or References List (1 page maximum)

3. CV (2 pages maximum)

Film/Mixed Media or Hybrid Critical/Creative Genres Application Requirements:

1. Film/Media Synopsis (2 double-spaced pages maximum) of work to be presented/workshopped that includes: (1) a research question or thesis, (2) description of format, (3) discussion of theoretical framework, methodology and process, (4) explanation of your argument and evidence, and (5) conclusions or anticipated conclusions. If your piece is co-created with other students, please make this clear .

2. CV (2 pages maximum)

3. Link (YouTube, Vimeo, etc.) where Film or Mixed Media can be viewed. Total run-time should not exceed 20 minutes. Note: our submission platform does not have capacity to hold media files. Please insert links into your synopsis. 

Contact Thinking Gender Coordinator Da In Choi at [email protected] .

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New Faculty and Visiting Scholars in 2024

Tenure/tenure track faculty.

Matthew Alemu

Assistant professor of sociology and criminology and criminal justice.

Matthew Alemu completed his PhD in the joint Sociology and Public Policy program at the University of Michigan. His research broadly examines how experiencing an absent father as a youth influences one’s life course. Specifically, his dissertat…

Taylor Cruz

Associate professor of sociology and health sciences.

Aaron Gluck-Thaler

Assistant professor, history.

Mark Henderson

Professor of public policy, oakland mpa coordinator.

Mark Henderson’s research focuses on environmental and social policy issues in the United States and China, often employing spatial analysis methods using Geographic Information Systems. Based on Northeastern’s Oakland, California campus, he ha…

Sarah Lageson

Associate professor, criminology and criminal justice & law.

Chuncheng Liu

Assistant professor, communications studies and sociology.

Chuncheng Liu is an Assistant Professor of Communication Studies and Sociology. His research interests span science and technology studies (STS), political sociology, critical data studies, economic sociology, medical sociology, and mixed methods. …

Lauren MacLean

Professor and department chair, political science.

Professor, Public Policy and Urban Affairs

Tiffany Nichols

Assistant professor of history and civil and environmental engineering.

Tiffany Nichols is a historian of science, technology, and environment. Her current book manuscript focuses on the siting history of large-scale instruments and science facilities, such as the Laser Interferometer Gravitational-Wave Observatory (LIGO…

Katheryn Russell-Brown

Elmer v.h. and eileen m. brooks trustee professor of crime, law, and justice.

Ettore Santi

Assistant professor of architecture and cultures, societies, and global studies.

Ettore Santi is an Assistant Professor with a joint appointment in the School of Architecture and in the Department of Cultures, Societies, and Global Studies. Ettore’s work connects studies of the built environment with debates in rural geography, a…

Ann C (Anncy) Thresher

Assistant professor of philosophy and religion and public policy and urban affairs.

Ann C (Anncy) Thresher is an applied ethicist whose work focuses on emerging environmental technologies and, in particular, what risks we’re warranted in taking to solve environmental crises. As part of this, she works with scientists and policy-make…

Korey Tillman

Assistant professor, criminology and criminal justice; assistant professor, africana studies.

Korey Tillman’s research sits at the nexus of race, policing, and empire. His work examines how the imbricated histories of racial slavery and colonialism shape contemporary policing and push Blackness outside the category of Human. As an aboli…

Rebekah Tromble

Professor, political science & computer science, teaching faculty.

Associate Teaching Professor

Fang Fang is a geographer specializing in urban greenspace and landscape dynamics, and environmental planning, particularly in the context of climate change. She employs various data sources and technologies, including Geographic Information Systems …

Matthew Hitchcock

Assistant teaching professor, writing program.

Matthew’s research has focused heavily on family archives and research through lived experiences. His dissertation, Commemorative Objects: Tracing Memory, Meaning Making, and Uptakes through Family Photographs, dove into his own family archives…

Stephanie Kinzinger

Postdoctoral teaching associate, english.

Bailey McAlister

Bailey holds a PhD in Rhetoric and Composition from Georgia State University in Atlanta, her beloved hometown. She has been a writing teacher for almost a decade and is currently researching new pedagogical frameworks for the generative age. …

Etai Mizrav

Assistant teaching professor.

Etai Mizrav, PhD, is a professor, researcher, and consultant specializing in educational policy and inequality. His research investigates 21st-century drivers of educational inequality and discriminatory policies contributing to opportunity and achie…

Olivia Ordoñez

Assistant teaching professor, english.

Olivia Ordoñez’s research examines the ways in which individuals and communities engage in dialogue across differences in sociopolitical location, such as race, gender, disability, and economic status. In particular, she assesses, with an eye t…

Fi Stewart-Taylor

Postdoctoral teaching associate, writing program.

Fi Stewart-Taylor received a PhD in English from the University of Florida in 2024. They study multimodal, self published, and small press texts, particularly (web)comics and zines. Their recent work considers the relationship between mediums, publis…

Alec Stubbs

Assistant teaching professor of philosophy; oakland ppe program coordinator.

Alec Stubbs serves as the Politics, Philosophy, and Economics Program Coordinator for Northeastern University Oakland. He received his PhD from Loyola University Chicago in 2022. His work focuses on the philosophy of work, prefigurative politics, pos…

Michael Thornton

Assistant teaching professor of history.

Michael Thornton teaches and researches Japanese and East Asian history, with a particular interest in the history of cities and urbanization. He has two major projects underway: the first focuses on the relationship between urbanization and colonial…

Mina Vidrine

Mina Vidrine joined Northeastern from the University of Oregon, where she taught writing for five years while completing her PhD in English. In 2022, she spent a year teaching writing and literature at Transilvania University of Brașov (Romania) as a…

Yafeng Wang

Yafeng Wang is an Assistant Teaching Professor at Northeastern University, holding a joint appointment with the College of Social Sciences and Humanities and the College of Engineering. Before joining Northeastern, he was a postdoctoral fellow at the…

Griffin Zimmerman

Dr. Griffin Zimmerman (they/he) earned their PhD in Rhetoric, Composition, and the Teaching of English from University of Arizona. Griffin is a trans, spoonie, and neuroqueer scholar who specializes in interdisciplinary critical disability studies, s…

Visiting Faculty

Zachary Agatstein

Visiting lecturer, political science.

Zachary Agatstein has a BA in political science from St. Mary’s College of Maryland and completed his M.A. and Ph. D in political science at Northeastern University. His dissertation, entitled Perpetrator, Facilitator, Resister: A framework for…

Gordon Henry

Distinguished visiting professor in residence, humanities center and english.

Ericka Knudson

Visiting lecturer, cultures, societies, and global studies.

Ericka Knudson holds a doctorate in film studies from the University of Paris. She has taught courses on film, media, communications at Harvard University, Stanford Continuing Studies, Northeastern and at the University of Paris. She has published ar…

Lisa McLeod

Visiting lecturer, philosophy and religion.

Lisa McLeod’s areas of interest include philosophy of race, critical race and gender theory, carceral studies, and health care ethics. She holds a Ph.D. in philosophy from Stanford University and a J.D. from UCLA School of Law. Prior to teachin…

Erina Megowan

Visiting lecturer, history.

Erina Megowan is a historian of the Soviet Union, with particular interest in the legitimization of war and the Soviet creative intelligentsia. She teaches widely in Russian, Soviet and European history. Currently she is working on a project that ex…

Américo Mendoza-Mori

Visiting lecturer, world languages center.

Eliza Osorio Castro

Eliza Osorio Castro earned a PhD in Political Science from Purdue University and an MA from the same institution. Osorio Castro also has an MA in Political and Social Studies from the Universidad Nacional Autónoma de México (UNAM) and a B.A. in Inter…

Lauren Savit

Visiting assistant professor.

Lauren Savit is a Visiting Assistant Professor in the Women’s, Gender, and Sexuality Studies Program. She has expertise in feminist media studies, queer theory, and feminist pedagogy. Her research examines the co-constitutive relationship between med…

Visiting Lecturer in Korean

Gahye Song’s primary research interests lie in describing grammar use in naturally-occurring social interaction and incorporating these insights into second and foreign language grammar instruction. She is also interested in using conversation …

Visiting Lecturer, School of Criminology and Criminal Justice

Murat Uzer is a Northeastern University alum, currently finishing up his doctoral degree in criminology. The topic of his dissertation is arson investigators’ occupational attitudes and perceptions. Uzer is passionate about teaching and studyin…

Visiting Lecturer, Economics

Nan Zhou received his BS in Economics and Computer Science from the California Institute of Technology in 2007 and received his PhD at the Johns Hopkins University Department of Economics in 2014. His research is in decision theory and financial m…

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Hawaii football team readies for rare prime-time opportunity against UCLA on network TV

HONOLULU — Will prime time be shine time or grime time for the Hawaii football team?

The Rainbow Warriors have an exceptionally rare opportunity Saturday afternoon at the Clarence T.C. Ching Athletics Complex as they host a power conference team on network television.

UH, coming off a 35-14 season-opening win over Delaware State of the FCS last weekend, is looking to bag a much bigger prize in UCLA, the former Pac-12 stalwart that is making its Big Ten Conference debut at one of the smallest venues in major college football.

What You Need To Know

The hawaii football team takes on ucla of the big ten conference at 1:30 p.m. saturday in a rare opportunity to play on network television (cbs) in a prime-time slot uh will look to register its first all-time win on network television after going 0-7-1 in such games dating to 1979 ucla is making its debut under an alumnus, deshaun foster, and as a member of the big ten conference a capacity crowd, or close to one, is expected at the 15,000-seat clarence t.c. ching athletics complex.

A sellout of the 15,000-seat venue, or close to one , is expected for the 1:30 p.m. kickoff in an East Coast prime-time window with a flagship CBS broadcast team on hand.

The Bruins are two-touchdown favorites.

“Great opportunity. It’s a game of our 1s versus their 1s,” sophomore linebacker Jamih Otis said this week. “I think UCLA’s a great program. I feel like it’s a good test for us, too, and I like our odds.”

UH has dropped its last 10 games on national TV going back to 2021. Network TV has signified an even greater degree of difficulty for the Rainbow Warriors dating back to their very first year of conference membership in 1979.

But UH has a chance to do something unprecedented as it makes its ninth all-time appearance on network TV; it is 0-7-1 in such games.

Third-year coach Timmy Chang downplayed any heightened significance of the contest at the start of the week. 

“I think it’s business as usual,” Chang said. “This is another opponent. It’s a good opponent. So we gotta get ready to play, ready to go.”

The last UH game on network TV was at USC in 2012 (FOX) and the last home game with that distinction was against Fresno State in 2005 (ABC). There was also the neutral site game against Georgia in the Sugar Bowl to cap the 2007 season (FOX).

Besides a 27-27 tie against SDSU in 1983, UH fared the best in its first network game (ABC) against Temple in 1979, a 34-31 defeat.

Amid a limited palette of Week Zero games, UH swept this week’s Mountain West player of the week awards, with quarterback Brayden Schager taking offense, Otis defense and return man Tylan Hines honored for special teams.

Otis, a sophomore out of Bishop Gorman (Nev.), is coming off a breakout performance in which he recorded 11 tackles, including 2.5 for loss.

“They’re a good pro-style offense,” he said of UCLA. “For us, what you see is what you’re going (to) get. I feel like our defense, it’s a good test for us because we play around with a lot of stuff. We’re going to come out and play fast, play to our ability. Most importantly, play violent.”

Chang acknowledged before the opener that it would be an advantage for UCLA to have game film on the Rainbow Warriors with no tape to reciprocate, as was the case going into the 2023 home opener against Stanford when UH had already played at Vanderbilt in Week Zero. The Cardinal won that one 37-24.

UH negotiated an uneven performance in the elements against DSU while not trying to give too much away for UCLA.

First-year Bruins coach DeShaun Foster employs two staff members with direct Hawaii ties in Kamehameha graduate Ikaika Malloe, the defensive coordinator, and former UH defensive back Brian Norwood, the passing game coordinator.

“(Coach Foster), I’m sure he’s going to have his guys going and ready to roll,” Chang said.

Malloe, in an interview with Los Angeles media on Wednesday, called UH a “high-powered offense” with Schager, who he said will “have a chance to prove himself on Sunday,” in a nod to NFL potential.

“I remember that (run and shoot) when Timmy Chang was a quarterback,” said Malloe, who was UH’s special teams coordinator under Greg McMackin in 2008. “It’s an exciting offense and kind of looking forward to the challenge.”

Malloe said keeping Schager in the pocket and limiting receiver Pofele Ashlock will be key. For UCLA’s part, it has an incumbent starting quarterback in fifth-year senior Ethan Garbers, who threw 11 touchdowns against three interceptions in 2023.

Of his shared history with Chang dating to their playing days in the Interscholastic League of Honolulu, Malloe offered, “Our roots go back quite a bit. … I’m an admirer of what he’s done. Just the opportunity he has to represent the 808. I think all of us who come from Hawaii, even though it’s not for the University of Hawaii, it’s for the state of Hawaii, no matter where we are. I think everybody wears the 808 pretty proud. For him to have that opportunity, I think it’s special.

“I’ll wish him the best of luck but I think we both realize what’s at stake, and we’ll continue on our friendship once the game is done.”

UH has a 14-game losing streak against current members of the Big Ten, with the majority of that comprised by Pac-12 defectors Oregon, Washington, USC and UCLA. The last UH victory against a Big Ten team (Pac-10 at the time) was Washington in 2007.

The last win against a Big Ten member at the time of the game was Purdue in 2006. The Chang-led ‘Bows also knocked off Northwestern and Michigan State at home in 2004.

UCLA is 4-0 in the series. UH’s last win over a power conference team was Arizona at Aloha Stadium in the 2019 opener.

Brian McInnis  covers the state’s sports scene for Spectrum News Hawaii. He can be reached at  brian.mcinnis@ charter.com .