My article ”Body Refractions” which has just been published over at Academic Quarter examines Darren Aronofsky’s Black Swan and the notions of character identification and bodily transformation, arguing that the digital morphing of Black Swan suggests a different relation to the cinematic image, one which can only be understood in terms of affect rather than representation. It can be found here, for free
I recently had two go-arounds with OUP for handbooks. In both cases, I felt a personal obligation to the editors such that I didn’t want to pull out. I also had the same acquisitions editor for both volumes, so it was at least not two different fights. We had a lot of email back and forth. I tried everything. I started with the SPARC authors’ addendum and then got to the point of refusing the $200 “fee” — it can’t be work for hire if they don’t pay me. Unfortunately, that didn’t flyWork for Hire and Oxford University Press / Another reason to boycot Oxford University Press.
Work for Hire update « The Pinocchio Theory / I also support the boycot of Oxford University Press.In other words, OUP is being quite systematic in usurping authors’ rights. If we don’t stop this now, it will become more and more prevalent throughout academic publishing. The volume to which I was supposed to contribute is quite an excellent one, with lots of great articles (I don’t want to mention its name here so as not to disparage the work of the three academics who put it together).
But I, for one, am determined never to write for Oxford University Press again, unless they eliminate this policy; and I would urge others to refuse to write for them as well.
Distrust That Particular Flavor - By William Gibson - Book Review - NYTimes.com
