Here I am, searching for things I might have missed, vividly searching for a theme in Bob Dylan films. Where do I start? Who is Bob Dylan? It's a common theme throughout everything I've analyzed, Bob Dylan is a mysterious but interesting man. Many wonder why this is so. It all started with DA Pennemakers' film, “Don't Look Back”. Well, in short, Dylan's transformation in Don't Look Back is very evident. I caught little details left and right of how he started to transform into his electric style. The theme of change in Bob Dylan's life is easy to capture, but I dug even deeper in my analysis of the introduction to Don't Look Back where it was supposedly still "folk." Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Let's say Dylan plays two roles in this film, a serious "folk" artist expressing his thoughts on national issues and the punk guitar whipping Dylan we'll soon see. At first Dylan is on the street. It is the road, where we can see the end of the journey of what will soon become the transformation of the once Folk artist. Along the road there are piles of garbage and clothes. This is not the intro graphic we would expect from a celebrity. It shows a kind of realism. This is where Dylan positions himself as a folk artist, not a pop idol. Dylan himself, however, seems anything but "folk". He's there, with bad hair, wearing a vest and holding cue cards, the cards used in TV productions to tell actors what to say. As the footage rolls, one of Dylan's songs begins to play on the soundtrack. The song is "Subterranean Homesick Blues", a song thought to express the underground culture he misses due to his newfound fame. That underground culture is around him, he seems to be part of it. However, where he is realistically located is off-camera. As Dylan stands next to the cards, it soon becomes clear that they also contain the song's key words and phrases. As the song plays, Dylan playfully displays and unwraps one cue after another, with the words on each cue appearing more or less in sync with the words as they are sung. In my analysis, he doesn't actually perform his songs for the audience. It's telling us what we're hearing, but we can actually hear it ourselves. As the song says: “You don't need a weather vane to know which way the wind blows.” Dylan's presence is like a weather vane, and in his responses to reporters later in the film he will declare that he has nothing special to share and, in any case, we don't need him to explain what he means. He's playing the role of this random cue because that's the role so many people think of him as. I found it funny because he knows he sounds ridiculous. He nonchalantly throws card after card, barely managing to keep up with the music. Dylan, it turns out, isn't the only person in the frame. There are two more people on the left side of the camera in the background. One barely appears on screen and the other almost disappears multiple times. The viewer hardly notices either of them because the camera is so focused on Dylan and his antics, and the figures appear smaller and slightly blurry. However, a closer look reveals that the main figure standing is Alan Ginsburg, the famous “Beat” poet and one of Dylan's inspirations. Ginsburg and his friend stand and talk until Dylan runs out of cues and the song ends. Dylan then exits the scene, just beyond camera left, and the two men enter the center of the image. Neither Ginsburg nor the friend ever comes close to the