Bob Dylan on Film The Intersection of Music and Visuals Ashgate Screen Music Series

In May 1967, during a discussion about his yet-to-be-released film Eat the Document, Bob Dylan cryptically remarked, ?The film is finished. It?s different.? It would not be the last time he could make this claim. Beyond his musical prowess, Dylan?s career encompasses a lesser-explored facet ? that of a filmmaker creating works that defy convention. This book delves into these cinematic forays, unravelling the intriguing interplay of Dylan?s presence both behind and in front of the camera.

Dylan?s cinematic experiments, ranging from the ground-breaking Dont Look Back (1967) to the enigmatic Masked and Anonymous (2003), stand as unique and thought-provoking additions to his artistic legacy. Unveiling an experimental and inquisitive sensibility, these films draw inspiration not only from cinematic predecessors but also from Dylan?s songcraft. Often residing in the periphery of Dylan studies, a closer examination of his cinematic oeuvre reveals an underrated auteur who fearlessly transcends the boundaries of the page, stage, and screen.

Thanks and Acknowledgements

Preface

1. 1. Introduction

2. 2. Dont Look Back

3. 3. Eat the Document

4. 4. Pat Garrett and Billy the Kid

5. 5. Renaldo and Clara

6. 6. Hearts of Fire

7. 7. Masked and Anonymous

8. 8. Conclusion

Glossary

Index

Jonathan Hodgers received his PhD in music from Trinity College Dublin, where he currently teaches in the Music Department. His core areas of interest are popular music history, audio-visual aesthetics, and the pop song in cinema. He is a member of the editorial board for the journal The Dylan Review and has published articles and given talks on Bob Dylan.