Rolling Thunder Revue: A Bob Dylan Story. 2019. Directed by Martin Scorsese. Available on Netflix; also on DVD by Criterion Collection.

2021 ◽  
Vol 53 ◽  
pp. 185-189
Author(s):  
JOSÉ VICENTE NEGLIA
Keyword(s):  
Martin Scorsese ◽  
Bob Dylan

scholarly journals Análise das imagens-máscara no documentário musical Rolling thunder revue

2020 ◽  
Vol 8 (19) ◽  
pp. 17-30
Author(s):  
Cynthia Leticia Schneider
Keyword(s):  
John Searle ◽  
Martin Scorsese ◽  
Bob Dylan

O artigo analisa o documentário Rolling Thunder Revue: A Bob Dylan story by Martin Scorsese, sob o ponto de vista do recorte teórico da filosofia analítica, especialmente de autores Carl Plantiga (1996), Noel Carrol (2005) e John Searle (2002). O conteúdo visual do filme foi classificado em três categorias denominadas imagens-máscara que reúnem as três camadas imagéticas do filme: as imagens-máscara de registro, as imagens-máscara de entrevistas contemporâneas e as imagens, por fim, encadeadas e ressignificadas na sutura do filme como obra final. O objetivo deste estudo é compreender a relação do documentário com conteúdos falsos, a partir das noções de asserção pressuposta ou do fato pressuposto e o conceito de intencionalidade.

scholarly journals “No Direction Home”: The Life and Literature of Bob Dylan–From “Desolation Row” to the Nobel Prize

Text Matters ◽  
2020 ◽  
pp. 166-181
Author(s):  
Liam Gearon
Keyword(s):  
Cultural History ◽  
Nobel Prize ◽  
Full Length ◽  
Distinctive Features ◽  
Martin Scorsese ◽  
Bob Dylan ◽  
Rolling Stone ◽  
The Face

Using the Nobel Prize as a prism through which to view the life and literature of a difficult-to-define artist, this article argues that Dylan’s output is one in which life and literature become, and have always been, indistinguishable. It is the life which has made the literature, through years lived in a particular niche of 1960s counter-cultural history; the lyrics gave voice to a man who was never at ease in the formalities of interview. For a supposed spokesman of a generation Dylan spoke very little except through his songs. So too in the more difficult-to-define later decades, little of his life was spoken of except through song, and some samplings of autobiography. Detailing the historically distinctive features of the Nobel Prize, the article shows how Bob Dylan has, through life and literature, broken down the boundaries between the literary and the popular. The article’s title is drawn, of course, from a famous line in Bob Dylan’s era-defining “Like a Rolling Stone,” one which Martin Scorsese used to title a full-length documentary on the life of Bob Dylan. Dylan here occupies the borderlands where art imitates life, and life imitates art. I argue, contrary to critical consensus, that there is a direction home. In Dylan’s lifetime of existentially staring death (political death, the death of romance) in the face, there is some glimpse of home. It is that glimpse which gives the poet’s lyrical output its endurance as literature.

Bridges within the Arts: Bob Dylan and Martin Scorsese

2021 ◽  
Vol 48 (1) ◽  
pp. 119-133
Author(s):  
Doris Hambuch ◽  
Ioannis Galanopoulos Papavasileiou
Keyword(s):  
Martin Scorsese ◽  
Bob Dylan ◽  
The Arts

: Casino . Martin Scorsese, Barbara de Fina.

1996 ◽  
Vol 49 (3) ◽  
pp. 43-45
Author(s):  
Karen Jaehne
Keyword(s):  
Martin Scorsese

scholarly journals Matrices of ‘Love and Theft’: Joan Baez Imitates Bob Dylan

2021 ◽  
pp. 1-31
Author(s):  
MIMI HADDON
Keyword(s):  
Final Section ◽  
Theoretical Work ◽  
First Century ◽  
Post Colonial ◽  
The Third ◽  
Bob Dylan ◽  
Colonial Theory ◽  
History Of ◽  
Asymmetrical Power ◽  
American Popular Music

Abstract This article uses Joan Baez's impersonations of Bob Dylan from the mid-1960s to the beginning of the twenty-first century as performances where multiple fields of complementary discourse converge. The article is organized in three parts. The first part addresses the musical details of Baez's acts of mimicry and their uncanny ability to summon Dylan's predecessors. The second considers mimicry in the context of identity, specifically race and asymmetrical power relations in the history of American popular music. The third and final section analyses her imitations in the context of gender and reproductive labour, focusing on the way various media have shaped her persona and her relationship to Dylan. The article engages critical theoretical work informed by psychoanalysis, post-colonial theory, and Marxist feminism.

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