Siân Lincoln – författare

A low-budget independent film made by a now defunct video company in the late 1980s, Dirty Dancing became a sleeper hit with a huge, primarily young audience. Even twenty-five years on, the film has found millions of devoted fans around the world through TV, video, and DVD releases. In The Time of Our Lives: ""Dirty Dancing"" and Popular Culture editors Yannis Tzioumakis and Siân Lincoln bring together leading scholars of film, media, music, culture, theatre, dance and sociology to examine for the first time the global cultural phenomenon of Dirty Dancing. Tzioumakis and Lincoln begin by assessing Dirty Dancing's cultural impact in the decades since its release and introduce contributors in four sections. Essays in ""Dirty Dancing in Context"" look at the film from several perspectives, including its production and distribution history, its blending of genres, its treatment of race, and its place in the political and visual culture of the 1980s. In ""Questions of Reception,"" contributors examine the many ways that the film has been received since its release, while those in ""The Production of Nostalgia"" focus on the film's often critiqued production of an idealised past. Finally, contributors in ""Beyond the Film"" examine the celebrated synergies that the film achieved in the ""high concept"" film environment of the 1980s, and the final two essays deal with the successful adaptation of the film for the stage. With the enormous cultural impact it has made over the years, Dirty Dancing offers many opportunities for thought-provoking analysis. Fans of the movie and students and scholars of cultural, performance and film history will appreciate the insight in The Time of Our Lives.

Examining one of the earliest films made specifically for young audiences in US cinema, Rock around the Clock (1956), this book explores the exploitation production company that made the film and the ways it represented young people, especially in terms of their association with rock ’n’ roll music and culture.Providing new avenues of approaching the film, the book looks at how Rock around the Clock has attracted significant scholarly attention, despite its origins as a low-budget production made by master exploitation filmmaker Sam Katzman. It challenges accounts that see the film’s young people as juvenile delinquents, using instead the label ‘cultural rebels’ as a signifier of youth’s ability to resurrect a moribund music industry and rejuvenate a stale youth culture. This book also questions the nature of the label ‘exploitation’ as applied to the film by examining Columbia Pictures’ role as a resource provider for Katzman’s film, comparing Rock around the Clock to contemporaneous films with a youth focus that were produced in different industrial contexts and investigating its relationship to adaptation by asking whether the film is an example of a ‘postliterary’ adaptation.Rich on archival research and industrial and textual analysis, Rock around the Clock will interest both film studies and youth cultures scholars.

This book brings together historians, sociologists and social scientists to examine aspects of youth culture. By so doing, Youth Culture and Social Change maps out new ways of historicizing responses to economic and social change: public unrest and popular culture.

Examining one of the earliest films made specifically for young audiences in US cinema, Rock around the Clock (1956), this book explores the exploitation production company that made the film and the ways it represented young people, especially in terms of their association with rock ’n’ roll music and culture.Providing new avenues of approaching the film, the book looks at how Rock around the Clock has attracted significant scholarly attention, despite its origins as a low-budget production made by master exploitation filmmaker Sam Katzman. It challenges accounts that see the film’s young people as juvenile delinquents, using instead the label ‘cultural rebels’ as a signifier of youth’s ability to resurrect a moribund music industry and rejuvenate a stale youth culture. This book also questions the nature of the label ‘exploitation’ as applied to the film by examining Columbia Pictures’ role as a resource provider for Katzman’s film, comparing Rock around the Clock to contemporaneous films with a youth focus that were produced in different industrial contexts and investigating its relationship to adaptation by asking whether the film is an example of a ‘postliterary’ adaptation.Rich on archival research and industrial and textual analysis, Rock around the Clock will interest both film studies and youth cultures scholars.

Growing up in the era of social media isn’t easy. With Facebook now having existed for more than a decade and a half, young people who have grown up using social media can look back and see earlier versions of themselves staring back: nostalgic moments with friends from school, reminders of painful breakups, birthdays and graduations, posts that allude to drama with family, experiences of travel, and blurry drunken photos. How do we make sense of our own personal histories inscribed on and through social media? What are the implications for future careers, for public trust in social media companies, and for our own memories?Growing up on Facebook examines the role of Facebook, and other social media platforms that have emerged around Facebook, in mediating experiences of 'growing up' for young people. Based on interviews with the first generation of young people to grow up with social media, the book covers education and employment, love and relationships, family life, and leisure (drinking, travel, and music). It touches on processes of impression management, privacy, context collapse, and control, and raises critical questions about the standards we hold social media platforms to, as they become the guardians of our personal histories.The book will appeal to both academic and general audiences alike. Students and scholars in media and communications, the sociology of youth, and beyond, will find strong connections to the literature and acknowledgement of the methodological detail of the study the book is based on. The themes and issues covered in the book are also of broader interest, and will appeal to people who have themselves grown up in the era of social media, to parents, educators, anyone interested in how we look back at social media as a personal memory archive.

This book assesses the legacy of Dick Hebdige and his work on subcultures in his seminal work, Subculture: The Meaning of Style (1979).