Catherine Johnson was born in London. Her father is Jamaican and her mother, Welsh. After studying film at St. Martin's College, London, she started a family and began to write. Catherine has been Writer in Residence at Holloway Prison, Royal Literary Fund Writing Fellow at the London Institute and has mentored writers in Africa for the British Council. She has written three books for Oxford University Press - Hero (2001) Stella (2002) and Face Value (2005). Catherine also co-wrote the screenplay for the critically acclaimed film, Bullet Boy, which starred Ashley Walters from So Solid Crew. Catherine lives in London.
A Julia Eccleshare Pick of the Month October 2018 | | Catherine Johnson celebrates a hero of Arctic discovery whose story had been forgotten for many years largely because of the colour of his skin in this exciting telling of an important true story. Matthew Henson’s life at home was so hard that at eleven years old he ran away to make a new life for himself in New York. Always attracted by the sea he finds himself drawn into the world of the seafarers who are determined to find a route to the North Pole. Matt joins an expedition and, through a combination of his hard work, his commitment and some lucky breaks he travels across the frozen wastes. His sensitive building of relationships with the Inuit community plays a strong part in his success and in his ultimate and extraordinary achievement: to be the first man to reach the North Pole.
Selected by a distinguished independent panel of experts including our editorial expert, Julia Eccleshare, for Diverse Voices - 50 of the best Children's Books celebrating cultural diversity in the UK. The youngest member of a collective of pick pockets and con-artists in 18 Century London, Cato Hopkins appears at risk of paying penance with his life...
With growth in access to high-speed broadband and 4G, and increased ownership of smartphones, tablets and internet-connected television sets, the internet has simultaneously begun to compete with and transform television. Online TV argues that these changes create the conditions for an emergent internet era that challenges the language and concepts that we have to talk about television as a medium. In a wide-ranging analysis, Catherine Johnson sets out a series of conceptual frameworks designed to provide a clearer language with which to analyse the changes to television in the internet era and to bring into focus the power dynamics of the online TV industry. From providing definitions of online TV and the online TV industry, to examining the ways in which technology, rights, interfaces and algorithms are used to control and constrain access to audiovisual content, Online TV is a timely intervention into debates about contemporary internet and television cultures. A must-read for any students, scholars and practitioners who want to understand and analyse the ways in which television is intertwining with and being transformed by the internet.
Branding Television examines why and how the UK and US television industries have turned towards branding as a strategy in response to the rise of satellite, cable and digital television, and new media, such as the internet and mobile phone. This is the first book to offer a sustained critical analysis of this new cultural development. Branding Television examines the industrial, regulatory and technological changes since the 1980s in the UK and the USA that have led to the adoption of branding as broadcasters have attempted to manage the behaviour of viewers and the values associated with their channels, services and programmes in a world of increased choice and interactivity. Wide-ranging case studies drawn from commercial, public service, network and cable/satellite television (from NBC and HBO to MTV, and from BBC and Channel 4 to UKTV and Sky) analyse the role of marketing and design in branding channels and corporations, and the development of programmes as brands. Exploring both successful and controversial uses of branding, this book asks what problems there are in creating television brands and whether branding supports or undermines commercial and public service broadcasting. Branding Television extends and complicates our understanding of the changes to television over the past 30 years and of the role of branding in contemporary Western culture. It will be of particular interest to students and researchers in television studies, but also in creative industries and media and cultural studies more generally.
Sara and Mina have been best friends for years. So when Sara gets hold of some Tarot cards and suggests they start telling fake fortunes Mina plays along, helping Sara make sure her predictions are right. But soon Sara's predictions become all too accurate, and she's dragged in to a dark world of magic and power that she can't understand. Can Mina save her? Particularly suitable for dyslexia, reluctant and struggling readers.
An essential purchase for dog and animal lovers, this volume presents amateur, anonymous snapshots of dogs from the turn of the century to the early 1950s in all kinds of ordinary and extraordinary settings. In it we see dogs under the Christmas table, on front porches, at play by the beach, and posed beside babies, birthday girls and in the family portrait. Each photograph in this remarkable collection reflects a unique moment in time and the sometimes surprising, occasionally humorous, and always intimate relationships people have with their dogs.
Telefantasy offers the first book length study to consider the place of fantasy, science fiction, and horror dramas in the history of British and US television. Looking at two periods (the 1950s/60s and the 1990s/2000s) when telefantasy has been particularly prevalent on television, this book provides detailed historical accounts of the production of key 'telefantasy' programmes: the Quatermass serials, The Prisoner, Star Trek, The X-Files, Buffy the Vampire Slayer, and Randall and Hopkirk (Deceased). Each case study is situated in relation to the development of the British and US television industries and the regulatory and critical discourses surrounding them, offering a new understanding of the individual programmes and the historical development of television as a medium. By bringing together a range of fantasy dramas and asking what they offered to television producers, Telefantasy challenges the previous understanding of these programmes as 'unique' cultural phenomena, and asks whether telefantasy can be understood as a genre. Through this analysis, Telefantasy argues that 'the fantastic' is a particularly rich area for re-examining the central assumptions about the aesthetics of television. These tales of alien invasion, futuristic space travel, and vampire slaying challenge the dominant notion that television is an intimate medium unsuited to the display of visual style. Telefantasy engages with current debates about television history, genre, narrative, and spectator theory, while providing case studies that will be of interest to students of television and fans of telefantasy.
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