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Theater","https://cinema.ucla.edu/billy-wilder-theater",[222],{"image":223},[224],{"id":225,"src":226,"height":227,"width":228,"srcset":229,"alt":230,"focalPoint":231},"7928993","https://static.library.ucla.edu/craftassetsprod/images/_fullscreen/Desi-Arnaz_1213.png",1920,2560,"https://static.library.ucla.edu/craftassetsprod/images/_375xAUTO_crop_center-center_none/Desi-Arnaz_1213.png 375w, https://static.library.ucla.edu/craftassetsprod/images/_960xAUTO_crop_center-center_none/Desi-Arnaz_1213.png 960w, https://static.library.ucla.edu/craftassetsprod/images/_1280xAUTO_crop_center-center_none/Desi-Arnaz_1213.png 1280w, https://static.library.ucla.edu/craftassetsprod/images/_1920xAUTO_crop_center-center_none/Desi-Arnaz_1213.png 1920w, https://static.library.ucla.edu/craftassetsprod/images/_2560xAUTO_crop_center-center_none/Desi-Arnaz_1213.png 2560w","Desi Arnaz in a suit and smiling while seated at a desk",[232,233],0.5016,0.3542,"desi-arnaz-the-man-who-invented-television-12-13-25","15246591","https://calendar.library.ucla.edu/event/15246591","2025-12-13T19:30","2025-12-13T21:45",[240],{"id":241,"title":242},"156366","Screening","\u003Cp>In-person: Q&A with Todd S. Purdum, author of “Desi Arnaz: The Man Who Invented Television.” Book signing before the screening.\u003C/p>\n\n\u003Cp>\u003Cbr />\n\u003Cstrong>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.\u003C/strong>\u003Cbr />\n \u003C/p>\n\n\u003Cp>A natural comedic actor, singer and percussionist, Desiderio Alberto Arnaz y de Acha III, better known as Desi Arnaz, also possessed considerable behind-the-scenes creative and business acumen that proved equally paramount to his incredible success. In the biography \u003Cem>Desi Arnaz: The Man Who Invented Television\u003C/em>, author Todd S. Purdum illuminates that the visionary practices introduced to the television industry by Arnaz dramatically altered the course of the medium. Arnaz’s most significant contribution was his audacious abandonment of live TV to shoot his new sitcom on film with three cameras. The runaway utility of the then-novel (and costly) production technique paved the way for the lucrative redistribution of \u003Cem>I Love Lucy\u003C/em>, and what ultimately became known as the “rerun.” The proceeds of Arnaz’s brilliant innovation helped fund Desilu Studios — his joint venture with Lucille Ball that quickly became one of the most prolific production arms of the rapidly expanding medium of television in the 1950s and ’60s. \u003C/p>\n\n\u003Cp>As a refugee forced to flee Cuba during the revolution of 1933, Arnaz faced extreme poverty and racism upon arrival in the United States. His unlikely rise to superstar and studio mogul represents a truly American rags to riches story, often undertold, with Arnaz’s genius overshadowed by the peerless comedic talents of his partner, Lucille Ball. \u003C/p>\n\n\u003Cp>Join us for a screening of beloved classics and archival gems honoring television pioneer Desi Arnaz, featuring a Q&A with Todd S. Purdum, author of \u003Cem>Desi Arnaz: The Man Who Invented Television. \u003C/em>\u003C/p>\n\n\u003Cp>\u003Cem>Programmed and notes written by John H. Mitchell Television Curator Mark Quigley.\u003C/em>\u003Cbr />\n \u003C/p>\n\n\u003Ch3>Desi Arnaz and His Orchestra\u003C/h3>\n\n\u003Cp>\u003Cstrong>U.S., 1946\u003C/strong>\u003C/p>\n\n\u003Cp>In this one-reeler, Warner Bros. introduces Desi Arnaz to motion picture audiences as a rising new star, complete with a performance of his signature tune, “Babalú.” \u003C/p>\n\n\u003Cp>35mm, b&w, 10 min. Director: c. With: Desi Arnaz.\u003Cbr />\n \u003C/p>\n\n\u003Ch3>I Love Lucy: “Job Switching” \u003C/h3>\n\n\u003Cp>\u003Cstrong>U.S. 9/15/1952\u003C/strong>\u003C/p>\n\n\u003Cp>\u003Cem>With original commercials! \u003C/em>\u003C/p>\n\n\u003Cp>Internationally beloved for Lucille Ball’s and Vivian Vance’s hilarious turns as inept chocolate factory workers, this landmark episode also highlights Arnaz’s comedic instincts as his alter ego Ricky Ricardo attempts domestic chores. In 1996, \u003Cem>TV Guide\u003C/em> ranked this episode number 2 in their “100 Most Memorable Moments in TV History,” surpassed only by coverage of Neil Armstrong’s first steps on the moon. \u003C/p>\n\n\u003Cp>DCP, b&w, 30 min. CBS. Production: A Desilu Production. Executive Producer: Desi Arnaz. Producer: Jess Oppenheimer. Director: Marc Daniels. Writers: Jess Oppenheimer, Madelyn Pugh, Bob Carroll, Jr. With: Lucille Ball, Desi Arnaz, Vivian Vance, William Frawley.\u003Cbr />\n \u003C/p>\n\n\u003Ch3>Westinghouse Promotional Film (excerpt)\u003C/h3>\n\n\u003Cp>\u003Cstrong>U.S., ca. 1958 \u003C/strong>\u003C/p>\n\n\u003Cp>In this corporate film, Desilu President Desi Arnaz offers an aerial tour of the vast production facilities across Los Angeles that he co-owned with partner Lucille Ball. Following the helicopter tour, Arnaz presents Westinghouse sponsors with his detailed production bible for the ambitious Westinghouse Desilu Playhouse television anthology that he executive produced. \u003C/p>\n\n\u003Cp>DCP, b&w, 20 min. With: Lucille Ball, Desi Arnaz, Vivian Vance, William Frawley.\u003Cbr />\n \u003C/p>\n\n\u003Ch3>The Lucille Ball-Desi Arnaz Show: “Lucy Meets the Mustache” \u003C/h3>\n\n\u003Cp>\u003Cstrong>U.S., 4/1/1960\u003C/strong>\u003C/p>\n\n\u003Cp>Directed by Desi Arnaz, this final episode of the I Love Lucy phenomenon represents the last time that he and Lucille Ball appeared together as the beloved Ricardos. Tensions between the couple, in the midst of divorce, were palpable on set as the cultural touchstone came to an end. The classic episode finds Lucy trying to revive Ricky’s flagging career by haranguing fellow TV pioneers Ernie Kovacs and Edie Adams for work. \u003C/p>\n\n\u003Cp>DCP, b&w, 60 min. CBS. Production: Desilu Productions. Executive Producer: Desi Arnaz. Producer: Bert Granet. Director: Desi Arnaz. Writers: Bob Schiller, With: Lucille Ball, Desi Arnaz, Ernie Kovacs, Edie Adams. \u003Cbr />\n \u003C/p>\n\n\u003Ch3>The Mothers-in-Law home movies\u003C/h3>\n\n\u003Cp>\u003Cstrong>U.S., ca. 1967\u003C/strong>\u003C/p>\n\n\u003Cp>Shot on the set of the short-lived sitcom \u003Cem>The Mothers-in-Law\u003C/em> (1967–69), these home movies, with commentary by longtime Desilu collaborators, writer Madelyn Pugh and editor Dann Chan, and series star Kaye Ballard, offer a rare glimpse of Desi Arnaz at work as executive producer and director. \u003C/p>\n\n\u003Cp>DCP, color, 15 min. With: Desi Arnaz, Kaye Ballard, Eve Arden. Special thanks to Jim Pierson. \u003Cem>Courtesy of Desilu Too.\u003C/em>\u003C/p>",[],"external","https://cinema.ucla.edu/events/desi-arnaz-the-man-who-invented-television-2025-12-13/",[],"Presented by the UCLA Film & Television Archive and made possible by the John H. 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