Bob Dylan's screen test for Andy Warhol, filmed January 23, 1965.

Blues and folk singer Karen Dalton was a prominent figure in 1960s New York. Idolized by Bob Dylan and Nick Cave, Karen discarded the traditional trappings of success and led an unconventional life until her early death. Since most images of Karen have been lost or destroyed, the film uses Karen's dulcet melodies and interviews with loved ones to build a rich portrait of this singular woman and her hauntingly beautiful voice.

Witness Bob Dylan in an intimate setting as he performs songs from his extensive body of work.

The story of Elvis Presley the musical artist, a comprehensive creative journey from his childhood through the final 1976 Jungle Room recording sessions.

Those who knew iconic funnyman John Candy best share his story, in their own words, through never-before-seen archival footage, imagery, and interviews.

Black and white footage of performances, interviews, and conversations at the Newport Folk Festival, from 1963 to 1966. The headliners are Peter, Paul and Mary, Joan Baez, Pete Seeger, and Bob Dylan, who's acoustic and electric. Son House and Mike Bloomfield talk about the blues; John Hurt, Howlin' Wolf, and Sonny Terry and Brownie McGhee show its range. The Osborne Brothers perform bluegrass. Donovan, Johnny Cash, Judy Collins, Mimi and Dick Farina, and others less well known also perform. Several talk musical philosophy, and there's a running commentary about the nature and appeal of folk music. The crowd looks clean cut.

Screen Test: Bob Dylan(1965)
Rodrigo Amaro
Legendary folk/rock singer Bob Dylan appears on this screen test directed and conducted by Pop artist master Andy Warhol. In brief minutes and filmed in a long sequence, Mr. Dylan presents a small variety of expressions and actions, all subtle movements.

1995 documentary television series

皮特•西格是美国著名民歌歌手，二十年代中期民歌复兴运动的先驱，有“美国现代民歌之父”之称。本片记录了皮特•西格音乐的一生，包括他的家庭背景、学习民歌的经历和对民歌复兴的贡献。影片尤其重点描述了皮特•西格年轻时期加入共产党的经历及因此在二战后麦卡锡“红色恐怖”时代所受到的不公待遇，包括失去歌手工作，不许对成人进行民歌教育等。越战期间，皮特•西格通过歌曲促进了全民反战运动，包括最著名的《在及腰深的大泥潭》（Waist Deep in the Big Muddy）和《花儿都去了哪？》（Where Have All the Flowers Gone？），同时资助了纽约哈德逊运河抗污染运动，成为美国环保运动的先驱之一。
本片获洛杉矶制片人指南奖最佳纪录片提名。

一切的源头应该追朔到由于内战与连年乾旱爆发大饥荒的非洲古老的艾塞俄比亚. 在1984年圣诞节前原 Boomtown Rates 合唱团的团员、也是爱尔兰知名摇滚歌手 Bob Geldof 与英籍电子团Ultravox 的 Midge Ure 合写一首 "Do They Know It\'s Christmas" 并召集了当红的英籍歌手与团体如保罗。杨、文化俱乐部(主唱乔治男孩)、杜兰杜兰合唱团、史汀…组成临时超级团体 Band Aid 演唱，期望能募款七万五千英镑来帮助这些难民。

2024 film directed by Bao Nguyen

Like every other episode in the life of Bob Dylan, the “born again” period that supposedly began with the release of Slow Train Coming (1979) and supposedly ended with Shot of Love (1981) has been endlessly scrutinized in the press. Less attention has been paid to the magnificent music he made. This very special film consists of truly electrifying video footage, much of it thought to have been lost for years and all newly restored, shot at shows in Toronto and Buffalo on the last leg of the ’79-’80 tour (with an amazing band: Muscle Shoals veteran Spooner Oldham and Terry Young on keyboards, Little Feat’s Fred Tackett on guitar, Tim Drummond on bass, the legendary Jim Keltner on drums and Clydie King, Gwen Evans, Mona Lisa Young, Regina McCrary and Mary Elizabeth Bridges on vocals) interspersed with sermons written by Luc Sante and beautifully delivered by Michael Shannon. More than just a record of some concerts, Trouble No More is a total experience.

A frank and generous portrait of the folk legend and activist with the incredible voice who, at the age of 82, continues to fight the good fight. A visual diary from a cultural icon.
In a sun-drenched cabin in Woodside, California, the directors meet the now 82-year-old Joan Baez. She is one of the 20th century’s greatest folk singers and activist voices, and in the autumn of her career she contiunues to shine. ‘Joan Baez, I Am A Noise’ is structured as a visual diary anchored in Baez’s extraordinary archive, including newly discovered home movies, diaries, artworks and sound recordings. At the same time, the singer is remarkably honest and revealing about her life on and off stage – from her lifelong psychiatric struggles to her myriad activist causes with Dr Martin Luther King and others, to a heartbreaking romance and musical partnership with a young Bob Dylan. A searingly honest look at a living legend who has never told the full truth about her life – until now.
源自：

关于作家、乐手Mark Knopfler的简短的纪录片。影片按照时间顺序，串联起Mark Knopfler童年、青年、Dire Straits时期、单飞后与音乐的故事及回忆。影片中Mark Knopfler所分享的对于音乐的理解及感悟更是珍贵

Eat the Document is a rarely exhibited documentary of Bob Dylan's 1966 tour of the United Kingdom with the Hawks. It was shot under Dylan's direction by D. A. Pennebaker, whose groundbreaking documentary Dont Look Back [sic] chronicled Dylan's 1965 British tour. The film was originally commissioned for the ABC television series Stage '66. According to Howard Sounes's biography, "Down the Highway: The Life of Bob Dylan", after his motorbike accident in July 1966, Dylan viewed a cut of the material edited by Pennebaker and Bob Neuwirth and thought it was too similar to Dont Look Back.
Dylan decided to re-edit the film himself, assisted by longtime associate Howard Alk. Dylan however. Pennebaker stated: "It's not something you learn parking cars in a garage. You gotta know some of the rules and he didn't know any of the rules." It can be assumed Dylan knew some of the rules (he had, after all, seen films) and that some of the unconventional editing choices were deliberate. Dylan and Alk's cut was eventually shown to ABC television, who promptly rejected it as incomprehensible to a mainstream audience.[1]
The film includes some powerful live performances of Dylan's songs of the period. It was never given a theatrical release or made commercially available on video, but unauthorized bootleg copies circulate among Dylan collectors. Also circulating in various bootleg formats is a long outtake featuring a possibly alcohol- or drug-impaired Dylan in a limousine with John Lennon. As Dylan shows signs of fatigue, Lennon urges him to get a grip on himself: "Do you suffer from sore eyes, groovy forehead, or curly hair? Take Zimdon!...Come come, boy, it's only a film. Pull yourself together."[2] Todd Haynes's film I'm Not There features a dramatisation of this conversation, with Cate Blanchett as Bob Dylan.
Highlights of the film include an interview with the Manchester Free Trade Hall concert-goer who shouted "Judas!" during the second, electric half of the set; the performances with the Hawks; the scenes of Dylan and Robertson in hotel rooms throughout England playing otherwise-unreleased songs; and a piano duet with Johnny Cash.
Some of the concert footage shot for Eat the Document - including the "Judas" incident in Manchester's Free Trade Hall - was used in Martin Scorsese's Dylan documentary, No Direction Home.

"As audiences could see for themselves in a special screening series organised by the Austrian Film Museum in November 2011, Benning’s more recent films move in several directions simultaneously. He picks up on older projects, reworks them, yet at times leaves these behind and makes an utterly fresh start – striking a strange equilibrium between continuity and a new slant on particular models of film aesthetics.
Benning has been viewed over the past decade as the USA’s landscape filmmaker par excellence, and at first it seems bewildering to find he has now turned his attention to phenomena of the digital world such as Web 2.0. In »YouTube Trilogy« (2011), Benning organised found material around three thematic clusters which apparently have little in common. The first section focuses on children of various religious affiliations singing: »Agnus Dei« in the crystal-clear voice of a boy from the Vienna Boys’ Choir, two girls singing a »Shalom« song, a teenager belting out into Leonard Cohen’s »Hallelujah« and a solo of an Arabic song by a young girl. These young people making music in a range of formats produce different types of intimacy. Whilst the Vienna Boys Choir piece is clearly taken from a television recording and exudes a sense of the official nature of the event, most of the other videos bear the hallmarks of youthful (YouTube-style) self-staging. These tensions function in a sense as a prelude to Benning’s attempt to give shape to a kind of concealed artistic autobiography by compiling and processing found video clips. He describes this part of the film as »my own sketchy tongue-in-cheek history«2 and thus establishes an arc of narrative tension underpinning what at first sight seem to be unconnected snippets – a man describes how a pistol works, President Eisenhower gives a speech, someone tries on a blue dress in a yellow window frame. Nonetheless the clips, filmed directly from the computer screen, function not so much in terms of what nonetheless remains an arbitrary combination but rather through the prism of the unique character of each scene. That makes the autonomy asserted by Benning even more questionable; while he claims authorial sovereignty over the digital found pieces, this ultimately gives rise to an idiosyncratic cryptograph. In the third section – with the deliberately attention-grabbing title »Asian Girls« – Benning picks up on the issue of the Internet’s typical categorisations, yet struggles to shift these categories away from the terrain of stereotype. "

This feature-length documentary is a cinematic biography of a song. Inspired by "The Holy or the Broken," Alan Light's critically acclaimed book, it is a definitive exploration of Leonard Cohen's "Hallelujah."

Suzanne Joe Kai’s intimate documentary—including archival interviews with legends like Marvin Gaye, Jim Morrison, and Elton John—shows us how the Rolling Stone writer and editor defined the cultural zeitgeist of the ’60s and ’70s.