What meaning does my life have? What hope is there for the Church? How can I see beyond the media hype and false images I am bombarded with every day? Where can I find God in all this noise and turmoil? Combining moving stories from the inner city with a fresh approach to the Gospel, Faith in Dark Places explores the revolutionary idea that the good news of God's love is being spoken to a tired and damaged world by those rejected as worthless: the homeless and the poor. This radically revised edition, incorporating powerful new insights and reflections, draws on recent theological research and the author's own experience of urban poverty. It examines key biblical texts, such as the Lord's Prayer as a prayer for the poor (in particular the implications of kingdom, bread and trespasses); the Magnificat; and the causes of the crucifixion.

John David Rhodes places the city of Rome at the center of this original and in-depth examination of the work of Italian director Pier Paolo PasoliniOCobut itOCOs not the classical Rome you imagine. "Stupendous, Miserable City" situates Pasolini within the history of twentieth-century Roman urban development. The book focuses first on the Fascist period, when populations were moved out of the urban center and into public housing on the periphery of the city, called the "borgate, " and then turns to the progressive social housing experiments of the 1950s. These environments were the settings of most of PasoliniOCOs films of the early to mid-1960s.

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Discussing films such as "Accattone, Mamma Roma, "and "The Hawks and the Sparrows, "Rhodes shows how Pasolini used the "borgate "to critique Roman urban planning and neorealism and to draw attention to the contemptuous treatment of RomeOCOs poor. To Pasolini, the "borgate, "rich in human incident, linguistic difference, and squalor, OC were lifeOCOOCoand now his passion can be appreciated fully for the first time.

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Carefully tracing PasoliniOCOs surprising engagement with this part of Rome and looking beyond his films to explore the interrelatedness of all of PasoliniOCOs artistic output in the 1950s and 1960sOCoincluding his poetry, fiction, and journalismOCoRhodes opens up completely new ways of understanding PasoliniOCOs work and proves how connected Pasolini was to the political and social upheavals in Italy at the time.

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John David Rhodes is lecturer in literature and visual culture at the University of Sussex."

"An authentically great American novel" that follows a young man's descent into darkness after a tragic loss, and his struggle to find renewal (Booklist, starred review). Raised in an idyllic Iowa town, young July Montgomery is rocked by the tragic death of his parents. Fleeing to Philadelphia, he fashions a ghostly existence in an underground train station. When a young woman appears to free him from his malaise, they return together to the Iowa heartland, where the novel soars to its heartrending climax. First published to enormous acclaim in 1975, Rock Island Line brings David Rhodes's striking characterizations and unparalleled eye for the telling detail to this tale of paradise lost--and possibly regained. "Beautiful and haunting . . . I read the book when it first came out over thirty years ago and it has lived in both my heart and head ever since." --Jonathan Carroll, author of Teaching the Dog to Read

Meshes of the Afternoon (1943), filmed by Maya Deren and her then husband Alexader Hammid in their bungalow above Sunset Boulevard for a mere $274.90, is the most important film in the history of American avant-garde cinema. The artistic collaboration between Deren and Hammid finds its distorted reflection in the vision of the film's tormented female protagonist. Its focus - through a series of intricate and interlocking dream sequences - on female experience and the domestic sphere links Meshes to the Hollywood melodramas of the period, while its unsettling atmosphere of dread, death and doubles makes it a counter-cinematic cousin to film noir. The film has influenced not only the subsequent history of experimental film, but also on the work of Hollywood auteurs. It is a touchstone of women's film-making, of modern cinema and of modern art. John David Rhodes traces the film's history back into the lives of Maya Deren and Alexander Hammid, but in particular that of Deren. He reads the film as a culmination of Deren's abiding interest in modernism and her intense engagement in socialist politics. Rhodes argues that while the film remains a powerful point of reference for feminist film-makers and experimentalists, it is also an example of political art in the broadest terms. In his foreword to this new edition, Rhodes reflects upon the film's continuing importance for and influence upon feminist and avant-garde filmmaking.

Had he known the hour of his death, the wealthy Harry Goldman might have arranged his day differently. Instead, he finds himself plunged into a nightmare in which his life of violence and ruthless greed is laid bare before him. Accompanied by a disreputable-looking but likeable tramp, who bears a striking resemblance to Jesus, Goldman sets out on a quest to save his soul. But, confronted by the shattering reality of hell, he becomes convinced all is lost . . .

It is 2027. August Helm is thirty years old. A biochemist working in a lab at the University of Chicago, he is swept off his feet by the beautiful and entirely self-assured Amanda Clark. Animated by August's consuming desire, their relationship quickly becomes intimate. But when he stumbles across a liaison between the director of his lab and a much younger student, his position is eliminated and his world upended. August sets out to visit his parents in Words, an unincorporated village in the heart of Wisconsin's Driftless Area. Here, he reconnects with several characters from his past: Ivan Bookchester, who now advocates for "new ways of living" in an age of decline; Hanh, formerly known as Jewelweed, who tends her orchard and wild ginseng, keenly attuned to new patterns of migration resulting from climate change and habitat destruction; and Lester Mortal, the aging veteran and fierce pacifist who long ago rescued her from Vietnam. Together, the old friends fall back into a familiar closeness. But much as things initially seem unchanged in the Driftless, when August is hired to look after Tom and April Lux's home in Forest Gate, he finds himself in the midst of an entirely different social set, made up of wealthy homeowners who are mostly resented by the poorer surrounding communities, and distanced in turn by their fear of the locals. August soon falls head over heels for April, and different versions of his self collide: one in which the past is still present in tensions and dreams, another in which he understands his desire as genetically determined and chemically induced, and then a vaguely hoped-for future with April. When Lester is diagnosed with liver cirrhosis, Ivan comes clean on a ghastly past episode, and April makes a shocking revelation, a series of events ensues that will change all involved forever. As approachable as it is profound in exploring the human condition and our shared need for community, this is a story for our times.

This is the first full-length monograph on the paintings of Bernard Frize (b.1949), an artist whose work straddles movements and styles from Colour Field to Minimalism, Fluxus, and Conceptual Art. Frize's works utilise a carefully constructed range of tools, processes, choreography and collaboration to catalogue, in complex and unexpected abstract form and colour, the possibilities of his chosen materials. Emerging from the politicised 1970s onwards, Frize swam against the tide of opinion regarding painting's apparent obsolescence to develop a painting practice that could express political commitment and social concerns, while avoiding both overt statement and pure decoration. David Rhodes' text provides a detailed consideration of Frize's development, from the earliest works onwards. Placing his paintings in a broader art-historical and philosophical context, a wider conversation about painting itself is presented alongside Frize's significant place within the medium's history.

Global Cinema Networks investigates the evolving aesthetic forms, technological and industrial conditions, and social impacts of cinema in the twenty-first century. The collection's esteemed contributors excavate sites of global filmmaking in an era of digital reproduction and amidst new modes of circulation and aesthetic convergence, focusing primarily on recent films made across Europe, Africa, Latin America, Asia, and the Middle East. Moving beyond the digital as a harbinger of transformation, the volume offers new ways of thinking about cinema networks in a historical continuum, from "international" to "world" to "transnational" to "global" frames.

Global Cinema Networks investigates the evolving aesthetic forms, technological and industrial conditions, and social impacts of cinema in the twenty-first century. The collection's esteemed contributors excavate sites of global filmmaking in an era of digital reproduction and amidst new modes of circulation and aesthetic convergence, focusing primarily on recent films made across Europe, Africa, Latin America, Asia, and the Middle East. Moving beyond the digital as a harbinger of transformation, the volume offers new ways of thinking about cinema networks in a historical continuum, from "international" to "world" to "transnational" to "global" frames.

The landscape of public order law has changed dramatically over the last decade. A wide range of legislation - including the Serious Organized Crime and Police Act 2005 and the Anti-Terrorism, Crime and Security Act 2001 has been enacted. Which has established legislation on trespass, criminal damage and the use of the highway, and has been put to new use in the criminalization of protestors.
The Law of Public Order and Protest provides a systematic, in-depth analysis of the law relating to public order and the right to protest. The text provides a comprehensive guide to the area, analyzing the underlying legal principles and constitutional and human rights background, as well as guiding readers through all procedural matters, the use of police powers, evidential issues, defences, and available orders (including ASBOs). The narrative also analyzes the case law in both the domestic and European human rights context.
The comprehensive work examines all offences brought in by statute since the Public Order Act 1986 as well as the remaining common law offenses. It features offenses from riot and affray, through to picketing, harassment, aggravated trespass, incitement to racial and religious hatred, and possession offences. It is up to date with the latest legislative interventions, including the new offense of glorifying terrorism, and measures introduced under the Serious Organized Crime and Police Act 2005. This new work steers you through the maze of legislation in this complex area.

The cinema of Michelangelo Antonioni (1912-2007) embodies--more than that of any other
director--the substance of European art cinema. Antonioni's films are intensely stylized, stylish,
demanding, beautiful, daring, frustrating, and gratifying. Antonioni died on 30 July 2007, eerily
the exact same day that his art cinema rival Ingmar Bergman also passed away. Antonioni's
death--perhaps too conveniently--seemed to mark a terminal point in film history. More
importantly, his death brought home immediately the need to reassess Antonioni's contribution
to world cinema. This collection of new essays by leading film scholars addresses Michelangelo Antonioni as a pre-eminent figure in European art cinema, explores his continuing influence and legacy, and engages with his ability to both interpret and shape ideas of modernity and modern cinema.

This book is timely in regard to the UK Government's commitment to the Big Society, the financial crisis of 2008 and the global imperative to address climate change. All are inextricably linked. It observes that human evolution is largely and dangerously determined by an artificial niche we call capitalism rather than the realities of the Planet. Based on fundamental concepts and insights from Ashby, Darwin, Kant, Koestler, Lovelock, Malthus, Simon and Smith, it argues for a systemic change to capitalism. The book is relevant to those concerned with a sustainable future, such as the scientists, engineers and technologists who possess the means to achieve it, the economists and politicians who have the task of commissioning it, and our Society which needs it. The content crosses disciplines and provides a useful and thought- provoking text for students and those who wish to be well-informed.