1992年10月16日，为庆祝Bob Dylan进入歌坛三十周年的一场纪念演唱会在纽约麦迪逊广场展开，吸引了超过一万八千人的观众前往观赏。参与演出的歌者包括有：John Mellencamp、盲人歌手 Stevie Wonder 、The Velvet Underground主唱Lou Reed、Pearl Jam 的 Eddie Vedder 和 Mike Mccready、黑人民谣歌手Tracy Chapman、Johnny Cash 与妻子 June Carter Cash（Johnny 在’69年 Dylan 的专辑封面提了一首诗，而得到了葛莱美奖「Best Album Note」的殊荣）、老牌乡村乐手 Willie Nelson 、另外一位横跨电影与音乐的乡村艺人 Kris Kristofferson、来自德州的已故蓝调吉他英雄Stevie Ray Vaughan、老石头 Ron Wood 、曾经风靡了 Woodstock 演唱会的艺人Richie Havens、三位当代杰出的年轻女艺人Shawn Colvin、Mary Chapin Carpenter以及Rosanne Cash、伟大的词曲创作家兼歌手 Neil Young 、Pretenders主唱Chrissie Hynde、颇受此间欢迎的吉他之神 Eric Clapton 、和 Bob Dylan有长久合作关系的 The Band 和老披头 George Harrison、著名的摇滚乐手Tom Petty、老牌民谣摇滚乐团 Byrds 的一员Roger Mcgainn等等相继以抢眼表现风靡全场；末了，Dylan和众乐手合唱了「 My Back Pages」、「 Knockin’ On Heaven’s Door」结束了这场耐人寻味的演唱会。综观而言，这些乐手不俗的表现和 Dylan 词曲的功力，将演唱会带入了高 潮而丝毫没有冷场，是一场值得一听再听的演唱会，Sony唱片公司特别录下了全部的过程，并加以重新付梓以飨大众, 作为永久的典藏。

第56届柏林电影节的闭幕影片是1973年上映的西部片《比利小子》(Pat Garrett And Billy The Kid)的特别版。《比利小子》讲述的是在1881年的新墨西哥，一个名叫派特·加勒特(Pat Garrett)的人被被委任为警长，追捕自己从前好友比利小子(Billy the Kid)的故事。比利小子是美国历史上的传奇罪犯，真名为威廉·邦尼(William Bonney)，他年轻时四处流浪，最擅长的就是拔枪射击，据说他从拔枪到射击只要0.3秒。比利小子曾经谋杀了21个人，最后为派特·加勒特所击杀。
本片导演山姆·佩金法是赫赫有名的美国动作电影大师，为暴力美学的开山鼻祖，发明了用慢镜头、圣歌包装血腥射杀场面的技巧，后来香港著名导演吴宇森的电影就充满了对他的模仿。除《比利小子》外，萨姆·派金帕的代表作还有《午后枪声》(Ride The High Country 1962)、《日落黄沙》(The Wild Bunch 1969)、和喜剧片《牛郎血泪美人恩》等等。著名歌手鲍勃·迪伦不仅在影片中出演了角色，并为本片演唱了主题曲。
关于"比利小子"
喜欢看西部片的朋友肯定听过比利小子的名字。根据资料，以他为题材的电影数量在所有的美国历史人物中排第二位，仅次于林肯总统。在电影里，他有时被描写成除暴安良的英雄，有时是冷血的杀手。那么，让我们来看看BILLY THE KID在历史上究竟是怎样的一个人——
1859-1861年期间，威廉.邦尼（比利小子的真名，得名“比利小子”是因为他的个子小）出生于新墨西哥州的林肯镇。他的枪很准快很，按一般说法，就是个快枪手。据说他14岁时就杀了第一个人，此后的几年间，他因为共杀了二十几个人而被通缉。1881年7月14 日，傍晚时分在林肯镇，被警长派特.加勒特(Pat Garrett)所射杀（也有一种说法是被警长放走了，不过可信度不高）。当时BILLY只有十九或二十岁。
1878年发生在新墨西哥领地内的"林肯县战争",是美国西部开发时期一次非常重要的牧区战争.它的爆发不是偶然的,有着深刻的政治和经济原因.这次长达5个月的流血冲突,是圣菲集团支持下的墨菲派与竞争对手麦克斯温-滕斯托尔派争夺对林肯县经济和政治控制权的必然结果.战争结局实质上是一种政治分赃,确保了墨菲家族在林肯县的垄断地位."比利小子"在这场流血冲突中只不过是麦克斯温-滕斯托尔派雇用的一名枪手,但在后来的许多传说中,他却成了"林肯县战争"的主角.一个多世纪以来,关于"比利小子"的历史著作、小说、电影、歌曲和传说不计其数."圣徒比利"取代了"魔鬼比利","林肯县战争"却被人淡忘了,即或有人偶尔记得它,也是从"比利小子"的出场背景中得知的,"林肯县战争"的真相则完全被"比利小子"的传说湮没或扭曲了.

这部纪录片是对鲍勃迪伦1965年英国巡演的忠实记录，导演彭内贝克用影像清晰的说明那时的鲍勃迪伦与披头士是多么的不同。与同时期的《苦难日之夜》相比，《别回头》更直接，深刻，对自己的拍摄对象也没有造星般的刻意吹捧，甚至还毫不掩饰的可以嘲讽，但是，再冷静的镜头都无法掩盖年轻迪伦的灿烂光芒，同现在的老迪伦相比，年轻的他无与伦比的傲慢，机智，激情洋溢，而其中一段以垮掉派代表艾伦金斯堡为背景的开场更是弥足珍贵。

本部纪录片用长达约4个小时的时间讲述了鲍勃·迪伦，这位美国民谣大师的传奇音乐生涯。鲍勃·迪伦，这位堪称美国六十年代反叛文化代言人的传奇歌手，他对音乐的理解和分析从他深刻寓意的歌词中可见一斑。影片聚焦鲍勃·迪伦在六十年代初期成为民谣英雄开始叙述，并穿插多段从未曝光的访问片段，首次真实地披露很多他鲜为人知的画面，记录下这位历久弥新的音乐大师从1961年到1966年间的的传奇历程。
由著名导演马丁·斯科塞斯执导的首部人物传记长片《没有家的方向》，荣获2006年第58届黄金时段艾美奖其他和技术类奖项-非剧情类节目最佳混音、其他和技术类奖项-非剧情类节目最佳导演提名、其他和技术类奖项-非剧情类节目最佳剪辑提名等多项大奖。

"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.

本集介绍美国乐坛重量级的民谣摇滚歌手鲍伯迪伦，他在1960年代中期为美国摇滚乐坛注入民谣的乐风，让整个乐坛有着不同以往的气息。有着“民谣摇滚诗人”之称的鲍伯迪伦在1965年的民歌演唱会还差点引发暴动，而为他刚起步的歌唱生涯掀起旋风。摇滚乐在1960年代接受了嬉皮与反战运动的洗礼后，经历了一次转型。
片中还为观众介绍难得一见的抒情摇滚先驱“柏德合唱团”的演唱片段；The Mamas & the Papas创造了新的California Dreamin版本；海滩男孩的布莱恩威尔森回忆当年面对披头四的压力。而影片的重头戏就是美国最伟大的吉他手吉米汉醉克斯，他神乎其技的弹指神功可说是四十年来无人能出其右，片中介绍他在蒙特娄流行音乐节时所引发的风潮，以及多位音乐人表达对他的景仰与敬意，这其中当然必包括贯穿全集访谈片段的吉他之神艾力克莱普顿。

该片改编自迪伦1975年至1976年的《奔雷秀》巡演，片中将包括迪伦本人的幕前采访。本片被描述为捕捉到了1975年陷入困境的美国精神以及迪伦在那年秋天演奏的欢乐音乐。据悉本片不会以传统纪录片的形式展开叙述。

影片以作家詹姆斯·鲍德温未完成的小说《记住这个房子》为切入点，片中还涉及马丁·路德·金、马尔克姆·X、梅加·埃弗斯的故事。

本片是美国摇滚乐队“THE BAND"在三藩市作告别演出音乐会的纪录片。 片中的大腕实在太多了。
马丁．史高塞斯的导演手法出色，在把握节奏、色彩运用方面掌握得非常有尺度；鲍里斯．李文的摄影技术也是炉火纯青，使得本片成为摇滚乐纪录片的代表作之一。

Live Aid was a dual-venue concert that was held on 13 July 1985. The event was organized by Bob Geldof and Midge Ure to raise funds for relief of the ongoing Ethiopian famine. Billed as the "global jukebox", the event was held simultaneously in Wembley Stadium in London, England, United Kingdom (attended by 72,000 people) and John F. Kennedy Stadium in Philadelphia, Pennsylvania, United States (attended by about 100,000 people). On the same day, concerts inspired by the initiative happened in other countries, such as Australia and Germany. It was one of the largest-scale satellite link-ups and television broadcasts of all time: an estimated global audience of 1.9 billion, across 150 nations, watched the live broadcast.[2

This uninspiring drama was unfortunately the last feature film directed by Richard Marquard and was released posthumously. Bob Dylan plays the retired and reclusive rock star (there's a stretch) Billy Parker who falls for aspiring rocker Molly McGuire (Fiona) and takes her under his wing on his tour of England to benefit from his experience. When Molly is "discovered" by lecherous music promoter James Colt (Rupert Everett), Billy flies the coop back to his stateside chicken farm while Molly makes music magic. Billy and Molly are eventually reunited when she returns for a triumphant tour of the United States. Songs from Dylan, Neil Young, Shel Silverstein, Andy Goldmark, Tony Swan, Wang Chung, John Dexter, Cyril Neville, John Hiatt, and Steve Jolley help the thin script and uninspired thesping. The film opens up with the 1982 hit Tainted Love from Soft Cell. Musicians Ian Dury and Richie Havens are included in the acting cast. One can only wonder if the feature was just wrapped up too quickly after the untimely death of Marquand from a stroke at age 49 on September 4th, 1987.

In the first comprehensive documentary to chronicle the private life and public career of Joan Baez, How Sweet The Sound examines her history as a recording artist and performer as well as her remarkable journey as the conscience of a generation.
How Sweet The Sound features interviews with David Crosby, Bob Dylan, the Reverend Jesse Jackson, Roger McGuinn and others, as well as a candid conversation between Joan and ex-husband David Harris. The film is rich is historic archival material including footage of Baez' controversial visit to North Vietnam, Martin Luther King Jr. outside a California prison, where he visited Joan to offer his support after she was jailed for protesting the draft during the Vietnam War, and never-before-seen film of Joan as a teenager performing at Club 47 in Cambridge, where her career was launched in 1958.
"Joan Baez: How Sweet The Sound" Original Soundtrack includes material spanning Joan's career, including many rare, previously unreleased performances.
1. Man Smart Woman Smarter
2. I Never Will Marry
3. Barbara Allen
4. Silver Dagger
5. Fennario
6. Oh Freedom
7. With God On Our Side
8. A Song for David
9. The Night They Drove Old Dixie Down
10. I Pity The Poor Immigrant (Duet w/ Bob Dylan)
11.Carry It On
12.Diamonds & Rust
13.Love Song To A Stranger
14.Day After Tomorrow
15.Jerusalem
Also includes: Conversations with:
Dar Williams
Bill Fegan and Bishop Earnest Palmer
Vaclav Havel
Steve Earle

1.Songs Include
2.Tombstone Blues
3.Shooting Star
4.All Along The Watchtower
5.The Times They Are A-Changing
6.John Brown
7.Desolation Row
8.Rainy Day Women #12 e 35
9.Love Minus Zero/No Limit
10.Dignity
11.Knockin On Heavens Door
12.Like A Rolling Stone
13.With God On Our Side

它将讲述一个从支持鲍勃·迪伦到成为其时代最具影响力的团体之一的团体的故事。

As our country continues to embroil itself in foreign wars and pins its hopes on a new leader's promise for change, Phil Ochs: There But For Fortune is a timely and relevant tribute to an unlikely American hero. Over the course of a meteoric music career that spanned two turbulent decades, Phil Ochs sought the bright lights of fame and social justice in equal measure - a contradiction that eventually tore him apart. From youthful idealism to rage to pessimism, the arch of Ochs' life paralleled that of the times, and the anger, satire and righteous indignation that drove his music also drove him to dark despair. In this brilliantly constructed film, interview and performance footage of Ochs is illuminated by the ruminations of Joan Baez, Tom Hayden, Pete Seeger, Sean Penn, Peter Yarrow, Christopher Hitchens, Ed Sanders, and others.

The history of rock n' roll and pop music are explored are explored via interviews and footage of well-known music stars.

A look at America's struggles with war, class, race and women's rights. based on Howard Zinn's "A People's History of the United States."

Andy Warhol´s Screen Tests were filmed from early 1964 to November 1966. Factory visitors who had potential "star" quality would be seated in front of a tripod mounted camera, asked to be as still as possible, and told not to blink while the camera was running. Warhol manipulated light and shadow in increasingly inventive ways to capture the appearance, style, personality, and mood of both famous and lesser-known visitors to his studio, the Factory. His subjects included Dennis Hopper, Gerard Malanga, Edie Sedgwick, Susan Sontag, and Salvador Dalí. Although each film was shot at standard sound speed, or twenty-four frames per second, Warhol specified that prints be projected at a slower speed of sixteen frames per second, a rate used in the projection of silent films. The result is an unusual fluidity of pace, a rhythm gently at odds with the starkness of the lighting and the boldness of the close-ups of face and hair.
In total more than 500 Screen Tests were made. Helmut was the seventh.