这是埃尔维斯·普雷斯利这位音乐艺术家的故事，是一段从童年到1976年Jungle Room最后录音的完整创作旅程。

《约翰·坎迪：我喜欢我》由科林·汉克斯执导，瑞安·雷诺兹监制，汇集了最了解约翰的人们，通过珍贵的影像资料、访谈以及从未公开的片段，饱含深情地讲述他的故事。这是一部感人至深的致敬影片，致敬这位有史以来最受喜爱的演员之一的人生、事业和传奇。

默里·勒纳的电影“节”是四个新港民俗节庆影院级合成描绘的关键年的过渡期为艺术民间music.Performers的范围从60年代的民间传说鲍勃·迪伦和琼·贝兹，以国画家像约翰尼·卡什美国传统民俗艺术家如佐治亚州海岛Singers.The范围也从巨大的价格的专业人士像彼得，保罗和玛丽的儿子众议院和密西西比约翰·贝兹Hurt.Joan，多诺万和Judy Collins的地道的民间尊严都在看，因为是皮特西格中，埃德年轻夫和鼓乐队。

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。

1985 年 1 月的一个夜晚，音乐界最大牌的明星聚在一起，录制《四海一家》。这部纪录片带我们走进该历史性事件的幕后。

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.

自1959年於新港民謠音樂節 (Newport Folk Festival) 初試啼聲便一炮而紅以來，瓊拜雅 (Joan Baez) 先是以清新脫俗的形象，婉約清亮的歌聲聞名全美，爾後又以「人權抗議歌手」的身分為戰爭難民、受迫害之人民發聲，讓她深受跨世代、跨族群、跨國樂迷間的推崇。瓊拜雅從六十年代開始，對於反越戰、反迫害、反種族隔離等美國國內外政治與社會、人權議題抗議活動的聲援與參與不遺餘力，她不單單只是唱出足以在亂世之中撫慰人心的歌聲，更以實際行動，不惜入監也要捨身取義，鼓舞人們持續反對不公不義。瓊拜雅於2017年4月7日入選搖滾名人堂。

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."

Archival interviews, promotional videos and documentary shorts featuring Bob Dylan. The stories of some of the most important moments in the legendary artist's career.

20岁时，帕蒂·史密斯来到纽约，打破了摇滚、诗歌和体裁的准则。她已经成为一个活生生的传奇人物，从未离开过舞台。诗人、演员和音乐家。也很好战。一个有一千条生命的艺术家，现在74岁了。这部纪录片讲述了帕蒂·史密斯的一生。首先是童年，这位艺术家说：“我想成为一个特别的人。我觉得自己很疏远。不仅仅是和其他孩子，我觉得自己远离了整个世界。我的童年是在我认为自己是外星人的过程中度过的。”小帕蒂在新泽西州农村长大，接受了耶和华见证会母亲的宗教教育。但帕蒂·史密斯离开了这场运动，这不符合她的艺术倾向。

A video chronicling Bob Dylan's Far East tour in early 1986 with Tom Petty And The Heartbreakers. Its ten songs combine '60s favorites such as "Just Like A Woman" with striking later numbers like "When The Night Comes Falling From The Sky." The band is sharp, and Dylan is in good form.

1 In the Garden
2 Just Like a Woman
3 Like a Rolling Stone
4 It's Alright, Ma (I'm Only Bleeding)
5 Girl from the North Country
6 Lenny Bruce
7 When the Night Comes Falling from the Sky
8 Ballad of a Thin Man
9 I'll Remember You
10 Knockin' on Heaven's Door

這部紀錄片系列集結過往影像片段與眾星訪談，以全新角度探討音樂界傳說人物貓王的人生、熱情和痛苦。