Chris Robé is an associate professor of film and media studies. His articles regarding media activism have appeared within various journals such as Jump Cut, Cinema Journal, and Film History. 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 written two books: Left of Hollywood: Cinema, Modernism, and the Emergence of U.S. Left Film Culture (2010) and Breaking the Spell: A History of Anarchist Filmmakers, Videotape Guerrillas, and Digital Ninjas. He is currently editing a collection with Stephen Charbonneau on international media activism tentatively titled: InsUrgent Media from the Front: A Media Activism Reader.
In his spare time he agitates for his friendly faculty union.
Kino Lorber's release of Personal Problems can be seen as a major intervention in recovering "lost" videotapes, representing an important black collective creative contribution of US grassroots videomaking.
Samuel Fuller'sForty Guns serves as a remarkable film that fuses the Western with film noir and provides ample space, at least during its first half, for Barbara Stanwyck to provide a commanding performance that hints at what a Western female heroine might look like.
The general absence of the L.A. Rebellion from most film history text books and Burnett's relative marginalization within film and media studies speaks to the socio-economic myopia and privileges that define both areas of study.
Barry Lyndon suggests that all violence—wars, duels, boxing, and the like—is nothing more than subterfuge for masculine insecurities and romantic adolescent notions, which in many ways come down to one and the same thing.