Chris Robé is an associate professor of film and media studies. He’s published within various journals such as Jump Cut, Cinema Journal, Framework, and Culture, Theory and Critique. His monograph Left of Hollywood: Cinema, Modernism, and the Emergence of U.S. Left Film Culture was published by University of Texas Press. His article, “‘Because I Hate Fathers, and I Never Wanted to Be One’: Wes Anderson, Entitled Masculinity, and the ‘Crisis’ of the Patriarch” appears within the anthology Millennial Masculinity: Men in Contemporary Cinema. He has recently published “When Cultures Collide: Third Cinema Meets the Spaghetti Western” in the Journal of Popular Film and Television and “Anarchist Aesthetics and U.S. Video Activism” for Jump Cut.
He is currently on sabbatical completing a book on video activism and the new anarchism within North America from the 1970s to the present.
In his spare time he agitates for his friendly faculty union.
Sunday, September 9 2012
In spite of all the rhetoric coming from Chief of Police Jane Castor in the days before the RNC about reserving extra jail space for the thousands they expected to arrest, as of Wednesday morning only three protestors had been arrested: one for wearing a mask, and another two who started a fight with each other at Romneyville.
Monday, January 2 2012
Occupy Wall Street's strength might be how it enables diverse constituencies to seize upon its imagery and message to engage with social justice concerns, both on the ground and within the video.
Tuesday, July 19 2011
In Detroit, a cauldron where neoliberal experiments are tested and then unleashed upon the world, the Allied Media Conference reveals both the huge challenges facing community organizing and how media can assist the disenfranchised.
Thursday, November 11 2010
At its best, López’s work engages in constructing a new vision where popular culture serves the interests of the poor and dispossessed, where humor is reignited within activism, and the D.I.Y. ethics of punk and hip-hop allow those with talent and gumption to be the media, once again.
Wednesday, May 20 2009
The 1934 Production Code’s puritanical stance towards sexuality is often highlighted by contemporary historians, but it also held extremely reactionary political mandates that forbade movie representations of conflicts between capital and labor.
Wednesday, April 15 2015
The real charm of Sullivan’s Travels is the way it exposes Hollywood’s mediation of the Depression and the trauma it inflicted.
Tuesday, January 6 2015
Boyhood returns to the view that originated with Italian Neorealism: documenting everyday life is the biggest spectacle one could capture on film.
Monday, July 21 2014
American Revolutionary wants to offer the appearance of revolution while anesthetizing any deeper understanding of the forces involved.
Sunday, June 29 2014
Capital offers a savage critique of capitalism and the banking industry, but it fails to imagine its ability to sustain its inhumane and self-destructive practices.
Monday, July 8 2013
Although one might condemn the girls of Spring Breakers for descending into the lustful materialism of St. Petes, it seems hypocritical coming from avid cinemagoers who also like to immerse themselves in the debauchery of horror films, musicals, melodramas, and the like.
Friday, February 6 2015
This film's ability to balance character-driven stories with didactic critiques against the racist practices that haunt our daily lives speaks to a sophisticated outlook rare among first-time directors.
Thursday, December 4 2014
The fundamentalist atheism and myopic intellectualism of Woody Allen's latest depiction of an older man/younger woman dynamic makes it a pale imitation of his best work.
Monday, January 27 2014
The Jackass ne’er do wells keep trying to squeeze another penny from the working class world of jerry-rigged skate ramps, overflowing testosterone, and homoerotic pranks.
Monday, July 1 2013
The remarkable Up series refuses to descend into proselytizing dogma about class by instead revealing the intricate ways in which class defines our relationships with each other and ourselves.
Thursday, March 7 2013
Through their highly labored yet naturalistic filmmaking, the Dardennes approximate the deep undercurrents of emotions that undergird our every action and transform a simple bicycle into what will be one kid’s lifeline.