The Literary and Political Odyssey of a Twentieth-Century

[Noyonhasan630]

Peter B. Kaufman’s call for a new Enlightenment couldn’t be more timely, or more necessary. His polemic against those who purport to own knowledge shows that knowledge is freedom and can belong to all or to none. The choice is ours.” —Edward Snowden

“Mellifluous, intelligent, erudite—a pleasure to read.” —Charles Nesson, William F. Weld Professor of Law at Harvard Law School and founder of the Berkman Klein Center for Internet and Society at Harvard

“Kaufman’s brilliant exposition of the need for an online Fifth Estate and his ardent support of an online creative commons are both timely and convincing. Everyone who draws on the web for research and intellectual inspiration should read this book.” —Michael Scammell, author, Solzhenitsyn: A Biography and Koestler: Skeptic and founding editor, Index on Censorship

“Rigorous and eloquent … a passionate europe cell phone number list proposal.” —Kathelin Gray, Los Angeles Review of Books

Posted in Event | 4 Replies
“Jump Cut” is a Model Open Journal: Digitized from Microfilm & Hosted on Archive.org
Posted on September 8, 2021 by Caralee Adams
“Jump Cut” is a model for open access journals. When the Internet Archive digitized older issues of “Jump Cut” from microfilm, we found that it had already been posted, in textual form, by the publisher. When we reached out to see if we could open up the microfilm version for free public access and download, they were enthusiastic. Here we wanted to share more background on “Jump Cut” and why openness is important for them.


Selection of covers from Jump Cut, now online from scanned microfilm at archive.org.
From the beginning, Jump Cut was all about being accessible and uncensored.

Now, the alternative media criticism journal has achieved maximum exposure: All of its back issues are available digitally for free through the Internet Archive.

John Hess, Chuck Kleinhans, and Julia Lesage launched the publication when they were graduate students at Indiana University in 1974. At first, they produced it themselves on typewriters and distributed it on inexpensive, tabloid newsprint.

“It was positioned as a counter-culture journal. Their impetus for creating it was to provide a voice to the disenfranchised, those not normally published in academic journals,” said Jeremy Butler, professor emeritus of TV and film studies at the University of Alabama. “This has involved writers from left perspective, underrepresented people of color, LGBTQ writers and others.”