Chris Robé is a professor of film and media studies. His articles on media activism have appeared within journals such as Jump Cut, Journal of Cinema and Media Studies, Framework and Film History. 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 (2017). He has a forthcoming collection co-edited with Stephen Charbonneau coming out with University of Indiana Press in fall 2020 tentatively titled: InsUrgent Media: A Global Media Activism Reader. He is currently completing a book on state repression, media activism, and grassroots organizing that addresses copwatching, Muslim American resistance, counter-summit protesting, and animal rights activism. He is also conducting archival work on Raymond Williams' work concerning grassroots and alternative media.
In his spare time he agitates for his friendly faculty union.
Filmmaking was only one element of a much wider feminist movement that was manifesting itself in various forms, from the flapper to the suffragette to the birth control advocate to the bohemian female writer and political activist.
Eric Tretbar'sFirst Person Plural and PBS' shorts Muslim Youth Voices both offer new representations of Somali-Americans. A significant contribution, given the Islamophobic frameworks that structure most cinema, television, and popular culture in general.
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.