I is Another

I’m Not There is a visionary rendering of Dylan’s life and music that is as bold as possible, while never pretentious. It takes Dylan’s songs and the biographic details that we know of his life and mashes them up. Fevered interpretations resonate against one another to create an experience that is more like tumbling within the whirlpool of one of Dylan’s kaleidoscopic songs than watching anything remotely like a biopic. At its best, which is quite often, I’m Not There summons the sensation of what it must have been like to live in Dylan’s skin at crucial moments in his life. Simultaneously, the film makes it undeniable at every moment that you are watching a cinematic interpretation of “Dylan,” not the man himself.

At a certain point, Dylan as a solitary figure, extraordinarily beautiful and yet so alone, seems to hold the essence of I’m Not There, which takes its name from a song that is also, almost, “not there.” Toward the end of the movie we hear that song, which Dylan recorded with the Band in the summer of 1967. Its half-finished lyric is impenetrable and exquisite. Dylan’s delivery is garbled yet assertive, peppered with made-up words and seeming disconnections that ultimately shape themselves into a whole that’s both elusive and achingly complete. Regardless of how much you may already know about him, I’m Not There will deepen and humanize your understanding of Dylan.

I’m Not There (Unofficial Trailer)

I’m Not There (Movie Clip)

Dylan’s 1965 San Francisco Press Conference (Said to be the First)

Music Audio: Bob Dylan/Blowing in the Wind


    Bob Dylan: I is Another

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The American Snapshot, 1888–1978

These snapshots chronicle the evolution of snapshot photography from 1888, when George Eastman first introduced the Kodak camera and roll film, through the 1970s. During this time it became possible for anyone to be a photographer, and snapshots not only had a profound impact on American life and memory, but they also influenced fine art photography. Organized chronologically, the photographs presented here focus upon the changes in culture and technology that enabled and determined the look of snapshots. They show the influence of popular imagery, as well as the use of recurring poses, viewpoints, framing, camera tricks, and subject matter, noting how they shift over time. The snapshot photography is presented chronologically, rather than concentrating on a particular thematic subject matter. Some say that this particular procedure marks a new approach to the genre. The exhibition is drawn from the collection of Robert E. Jackson and from recent gifts Mr. Jackson made to The National Gallery of Art.

The Art of the American Snapshot, 1888-1978

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