Patricia Holland – författare

Patricia Holland offers a fascinating study of the ways in which changes to public services, and shifts in the concept of 'the public' under Margaret Thatcher's three Conservative governments, were mediated by radio and television in the 1980s.

Current affairs television in the UK, in more than half a century of programmes, has set out to tell us something we didn't know, treating its audience as citizens with the right to demand that 'something must be done'. Over their 36 year history, the current affairs series "This Week" and its replacement "TVEye", helped to mark out that democratic project. This is the story of "This Week", one of the few giants of the genre, set within the wider pattern of 'the angry buzz' of inquiry and dissent that is current affairs television. This is a particularly timely tale, now that many fear that current affairs may be an endangered species. Patricia Holland follows "This Week" from its beginnings in the 1950s as a light magazine programme with some serious moments, through the challenging programmes of the 1970s - which brought home the reality of poverty at home, famine in Africa and accusations of torture in Northern Ireland. The story continues right up to its demise in 1992, often blamed on its controversial programme "Death on the Rock" on the shooting of IRA terrorists in Gibraltar.She shows how "This Week" covered the spectrum of public affairs and social issues in an uncompromising way, which regularly brought it into conflict with the authorities. She also brings to life people with a real sense of purpose and commitment and the realities of digging behind the headlines against a highly charged international political backdrop. "The Angry Buzz" also explores the development of current affairs journalism. It looks at the scope of the current affairs agenda; the practice of responsible journalism, while producing attractive programmes; regulation and public service television; 'tabloidisation' and dumbing down; and issues for women working within a genre largely dominated by men. This history of "This Week" and current affairs journalism is a live history, which does not remain in the past, but has a real purchase on the present - and the future.

Whether controversial or taken for granted, pictures of children are everywhere - in magazines, newspapers and advertisements, on greetings cards and the Internet. "Picturing Childhood" demonstrates how these familiar images reveal a view of childhood which is constantly changing. With debates over children's rights in the 1970s, child sexual abuse in the 1980s, violent children in the 1990s and precocity and consumerism in the 2000s, the traditional image of childhood innocence survives only as a form of kitsch. Using images from a wide variety of sources, this text considers the popular imagery in relation to news, education, welfare, charity and consumerism and asks what implications does all this have for the ways in which children themselves are treated?

Patricia Holland offers a fascinating study of the ways in which changes to public services, and shifts in the concept of ''the public'' under Margaret Thatcher''s three Conservative governments, were mediated by radio and television in the 1980s.

This book shows that the current focus on high stakes tests has narrowed the definition of a successful school. It demonstrates that, in addition to focusing on standardized measures, educators also need to look at other matters, such as - what actually goes on in their classrooms- teachers' professional development- parental involvement- school climate These chapters were written by school leaders who are champions of accountability but who also ask us to take a look at the bigger picture.

The New Television Handbook provides an exploration of the theory and practice of television at a time when the medium is undergoing radical changes. The book looks at television from the perspective of someone new to the industry, and explores the place of the medium within a constantly changing digital landscape.This title discusses key skills involved in television production, including: producing, production management, directing, camera, sound, editing and visual effects. Each of these activities is placed within a wider context as it traces the production process from commissioning to post-production.The book outlines the broad political and economic context of the television industry. It gives an account of television genres, in particular narrative, factual programmes and news, and it considers the academic discipline of media studies and the ways in which theorists have analysed and tried to understand the medium. It points to the interplay of theory and practice as it draws on the history of the medium and observes the ways in which the past continues to influence and invigorate the present.The New Television Handbook includes:contributions from practitioners ranging from established producers to new entrants;a comprehensive list of key texts and television programmes;a revised glossary of specialist terms;a section on training and ways of getting into the industry.By combining theory, real-world advice and a detailed overview of the industry and its history, The New Television Handbook is an ideal guide for students of media and television studies and young professionals entering the television industry.

The New Television Handbook provides an exploration of the theory and practice of television at a time when the medium is undergoing radical changes. The book looks at television from the perspective of someone new to the industry, and explores the place of the medium within a constantly changing digital landscape.This title discusses key skills involved in television production, including: producing, production management, directing, camera, sound, editing and visual effects. Each of these activities is placed within a wider context as it traces the production process from commissioning to post-production.The book outlines the broad political and economic context of the television industry. It gives an account of television genres, in particular narrative, factual programmes and news, and it considers the academic discipline of media studies and the ways in which theorists have analysed and tried to understand the medium. It points to the interplay of theory and practice as it draws on the history of the medium and observes the ways in which the past continues to influence and invigorate the present.The New Television Handbook includes:contributions from practitioners ranging from established producers to new entrants;a comprehensive list of key texts and television programmes;a revised glossary of specialist terms;a section on training and ways of getting into the industry.By combining theory, real-world advice and a detailed overview of the industry and its history, The New Television Handbook is an ideal guide for students of media and television studies and young professionals entering the television industry.

The New Television Handbook provides an exploration of the theory and practice of television at a time when the medium is undergoing radical changes. The book looks at television from the perspective of someone new to the industry, and explores the place of the medium within a constantly changing digital landscape.This title discusses key skills involved in television production, including: producing, production management, directing, camera, sound, editing and visual effects. Each of these activities is placed within a wider context as it traces the production process from commissioning to post-production.The book outlines the broad political and economic context of the television industry. It gives an account of television genres, in particular narrative, factual programmes and news, and it considers the academic discipline of media studies and the ways in which theorists have analysed and tried to understand the medium. It points to the interplay of theory and practice as it draws on the history of the medium and observes the ways in which the past continues to influence and invigorate the present.The New Television Handbook includes:contributions from practitioners ranging from established producers to new entrants;a comprehensive list of key texts and television programmes;a revised glossary of specialist terms;a section on training and ways of getting into the industry.By combining theory, real-world advice and a detailed overview of the industry and its history, The New Television Handbook is an ideal guide for students of media and television studies and young professionals entering the television industry.

The New Television Handbook provides an exploration of the theory and practice of television at a time when the medium is undergoing radical changes. The book looks at television from the perspective of someone new to the industry, and explores the place of the medium within a constantly changing digital landscape.This title discusses key skills involved in television production, including: producing, production management, directing, camera, sound, editing and visual effects. Each of these activities is placed within a wider context as it traces the production process from commissioning to post-production.The book outlines the broad political and economic context of the television industry. It gives an account of television genres, in particular narrative, factual programmes and news, and it considers the academic discipline of media studies and the ways in which theorists have analysed and tried to understand the medium. It points to the interplay of theory and practice as it draws on the history of the medium and observes the ways in which the past continues to influence and invigorate the present.The New Television Handbook includes:contributions from practitioners ranging from established producers to new entrants;a comprehensive list of key texts and television programmes;a revised glossary of specialist terms;a section on training and ways of getting into the industry.By combining theory, real-world advice and a detailed overview of the industry and its history, The New Television Handbook is an ideal guide for students of media and television studies and young professionals entering the television industry.

This book shows that the current focus on high stakes tests has narrowed the definition of a successful school. It demonstrates that, in addition to focusing on standardized measures, educators also need to look at other matters, such as what actually goes on in their classrooms, teachers’ professional development, parental involvement, and school climate. These chapters were written by school leaders who are champions of accountability, but who also ask us to take a look at the “bigger picture”.

This book shows that the current focus on high stakes tests has narrowed the definition of a successful school. It demonstrates that, in addition to focusing on standardized measures, educators also need to look at other matters, such as what actually goes on in their classrooms, teachers’ professional development, parental involvement, and school climate. These chapters were written by school leaders who are champions of accountability, but who also ask us to take a look at the “bigger picture”.

Patricia Holland offers a fascinating study of the ways in which changes to public services, and shifts in the concept of 'the public' under Margaret Thatcher's three Conservative governments, were mediated by radio and television in the 1980s.

Current affairs television in the UK, in more than half a century of programmes, has set out to tell us something we didn't know, treating its audience as citizens with the right to demand that 'something must be done'. Over their 36 year history, the current affairs series "This Week" and its replacement "TVEye", helped to mark out that democratic project. This is the story of "This Week", one of the few giants of the genre, set within the wider pattern of 'the angry buzz' of inquiry and dissent that is current affairs television. This is a particularly timely tale, now that many fear that current affairs may be an endangered species. Patricia Holland follows "This Week" from its beginnings in the 1950s as a light magazine programme with some serious moments, through the challenging programmes of the 1970s - which brought home the reality of poverty at home, famine in Africa and accusations of torture in Northern Ireland. The story continues right up to its demise in 1992, often blamed on its controversial programme "Death on the Rock" on the shooting of IRA terrorists in Gibraltar.She shows how "This Week" covered the spectrum of public affairs and social issues in an uncompromising way, which regularly brought it into conflict with the authorities. She also brings to life people with a real sense of purpose and commitment and the realities of digging behind the headlines against a highly charged international political backdrop. "The Angry Buzz" also explores the development of current affairs journalism. It looks at the scope of the current affairs agenda; the practice of responsible journalism, while producing attractive programmes; regulation and public service television; 'tabloidisation' and dumbing down; and issues for women working within a genre largely dominated by men. This history of "This Week" and current affairs journalism is a live history, which does not remain in the past, but has a real purchase on the present - and the future.

Whether controversial or taken for granted, pictures of children are everywhere - in magazines, newspapers and advertisements, on greetings cards and the Internet. "Picturing Childhood" demonstrates how these familiar images reveal a view of childhood which is constantly changing. With debates over children's rights in the 1970s, child sexual abuse in the 1980s, violent children in the 1990s and precocity and consumerism in the 2000s, the traditional image of childhood innocence survives only as a form of kitsch. Using images from a wide variety of sources, this text considers the popular imagery in relation to news, education, welfare, charity and consumerism and asks what implications does all this have for the ways in which children themselves are treated?

Sophie can’t walk or talk, but behind her disability hides a keen intelligence. Living on The Styx River cattle station with her father and a nanny, Sophie is acutely aware that she is a non-person. She feels as voiceless and isolated as the wallabies of The Wall, an eerie wilderness of basalt lava tubes forming a natural stone labyrinth that protects its remote lushness from anyone foolish enough to wander in.Sophie’s mother Rose, as The Wall’s indigenous custodian, taught Sophie its secrets. When a bitter divorce forces Rose to leave, Sophie is powerless to stop her grazier father from taking custody of both Sophie and The Wall.Advances in computer technology enable Sophie to communicate, a fact she keeps secret from her father and his “cronies”. In Sophie’s presence, unaware she understands everything, they plot to develop a multi-million dollar tourist resort in The Wall. The development will only go ahead if the rare wallabies are already extinct, so they hire roo shooters to help nature along. In desperation Sophie writes Silent Scream, an anonymous blog that reveals the threat. When an environmental study team commissioned to find the wallabies goes missing, the rescuers appeal to Silent Scream for help. Raising awareness is one thing, but how can one impossibly disabled girl who can’t help herself, help save the lives of others?