First time director Antonio Campos's downbeat tale of teenage alienation in which a public school pupil confronts death in the digital age. High school loner Robert (Ezra Miller) spends his spare time surfing the net for hardcore pornography and random clips of unrelated items that appeal to him. Given a digital video camera to record footage for an audiovisual class, Robert happens to be present when two popular girl students accidentally die from a drugs overdose. With the school in mourning, Robert is given the job of producing the school's official memorial video. But as he becomes immersed in his task, he soon finds himself becoming even more alienated from those around him.

Christianity Today Award of Merit Readers' Choice Awards Honorable Mention Best Books About the Church from Byron Borger, Hearts and Minds Bookstore "When . . . faith communities begin connecting together, in and for the neighborhood, they learn to depend on God for strength to love, forgive and show grace like never before. . . . The gospel becomes so much more tangible and compelling when the local church is actually a part of the community, connected to the struggles of the people, and even the land itself." Paul Sparks, Tim Soerens and Dwight J. Friesen have seen-in cities, suburbs and small towns all over North America-how powerful the gospel can be when it takes root in the context of a place, at the intersection of geography, demography, economy and culture. This is not a new idea-the concept of a parish is as old as Paul's letters to the various communities of the ancient church. But in an age of dislocation and disengagement, the notion of a church that knows its place and gives itself to where it finds itself is like a breath of fresh air, like a sign of new life.

The first book devoted to the composers, instrument makers and amateur players who advanced the great guitar vouge throughout Western Europe during the early decades of the nineteenth century. Contemporary critics viewed the fashion for the guitar with sheer hostility, seeing in it a rejection of true musical value. After all, such trends advanced against the grain of mainstream musical developments of ground-breaking (often Austro-German) repertoire for standard instruments. Yet amateur musicians throughout Europe persisted; many instruments were built to meet the demand, a substantial volume of music was published for amateurs to play, and soloist-composers moved freely between European cities. This book follows these lines of travel venturing as far as Moscow, and visiting all the great musical cities of the period, from London to Vienna, Madrid to Naples. The first section of the book looks at eighteenth-century precedents, the instrument - its makers and owners, amateur and professional musicians, printing and publishing, pedagogy, as well as aspects of repertoire. The second section explores the extensive repertoire for accompanied song and chamber music. A final substantive section assembles chapters on a wide array of the most significant soloist-composers of the time. The chapters evoke the guitar milieu in the various cities where each composer-player worked and offer a discussion of some representative works. This book, bringing together an international tally of contributors and never before examined sources, will be of interest to devotees of the guitar, as well as music historians of the Romantic period.

Following on from James Tyler's The Early Guitar: A History and Handbook(OUP 1980) tthis collaboration with Paul Sparks (their previous book for OUP, The Early Mandolin, appeared in 1989), presents new ideas and research on the history and development of the guitar and its music from the Renaissance to the dawn of the Classical era. Tyler's systematic study of the two main guitar types found between about 1550 and 1750 focuses principally on what the sources of the music (published and manuscript) and the writings of contemporary theorists reveal about the nature of the instruments and their roles in the music making of the period. The annotated lists of primary sources, previously published in The Early Guitar but now revised and expanded, constitute the most comprehensive bibliography of Baroque guitar music to date. His appendices of performance practice information should also prove indispensable to performers and scholars alike. Paul Sparks also breaks new ground, offering an extensive study of a period in the guitar's history-notably c.1759-c.1800-which the standard histories usually dismiss in a few short paragraphs. Far from being a dormant instrument at this time, the guitar is shown to have been central to music-making in France, Italy, the Iberian Peninsula, and South America. Sparks provides a wealth of information about players, composers, instruments, and surviving compositions from this neglected but important period, and he examines how the five-course guitar gradually gave way to the six-string instrument, a process that occurred in very different ways (and at different times) in France, Italy, Spain, Germany, and Britain.

A "hidden" instrument in the classical music world, the mandolin's repertoire of original music remains largely unknown. This book examines the lives and works of the mandolin's great composers and, together with Sparks's earlier The Early Mandolin (Oxford 1989), provides the first comprehensive survey of the instrument's history. The book also explores aspects of technique and looks at present-day orchestras and soloists.

Following James Tyler's earlier introduction to the history, repertory, and playing techniques of the four- and five-course guitar (The Early Guitar, OUP 1980), which performers and scholars of Renaissance and Baroque guitar and lute music and classical guitarists found valuable and enlightening, this new book, written in collaboration with Paul Sparks and incorporating the latest ideas and research, is an authoritative guide to the history and repertory of the guitar from the Renaissance to the dawn of the Classical era.

A `hidden' instrument in the classical music world, the mandolin's repertoire of original music remains largely unknown. This book examines the lives and works of the mandolin's greatest composers, and taken together with The Early Mandolin (OUP 1989), provides the first comprehensive survey of the instrument's history. It also examines aspects of technique and looks at present-day orchestras and soloists.

The name "mandolin" was used to refer to two quite different instruments: the gut-stringed mandolino, played with the fingers, and the later metal-stringed Neapolitan mandoline, which was played with a plectrum. This is the first book devoted exclusively to these two early instruments about which information in reference books is scant and often erroneous. The authors uncover their rich and varied musical history, examining contemporary playing techniques and revealing the full extent of the instruments' individual repertories, which include works by Vivaldi, Sammartini, Stamitz, and Beethoven. The book's ultimate aim is to help today's players to produce artistically satisfying performances through an understanding of the nature and historical playing style of these unjustly neglected instruments.

Everyday life is often times not experienced as very relational anymore. The church has been co-opted by services and meetings detached from a relational expression within a particular place or parish in everyday life. We need to create the context to reimagine the body of Christ in everyday life as embodied through its proximity and shared life together. Without the value of inhabiting and listening to the place where we live, we will have very little expression of faith together in everyday life. There needs to be an embodied expression for our ecclesiology to make sense. If we do not have a local expression together, we will create a duality between our spirituality and our everyday lives in the ordinary. The Communal Imagination will draw out a new way of being for ourselves into this transition of embodied expression by stressing the importance of proximity and shared life within a particular neighborhood where we live, work and play. We need to embody practices as a way of life that are based on a spirituality of love, grace, humility and simplicity within the place where we share life together. This is how we will be able to get along and function in a healthy way over time that does not do damage to the cultural context we are in as we build on the particulars of our relationships together.