Obraz i obrazina – Rolling Thunder Revue: Priča Martina Scorsesea o Bobu Dylanu. (Croatian)

The face and the mask: Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese. (English)

SCORSESE, Martin, 1942-; DYLAN, Bob, 1941-

The author explores the roots, reasons, procedures, meanings and receptive effects of the interference of fictional elements in the 2019 Martin Scorsese’s feature length film Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese, formally considered and experienced as a documentary film. There are multiple reasons for the undermining of the documentary value – they are closely linked to the manner in which the protagonist, the American pop-rock author and musician Bob Dylan, had been presenting himself for several decades; to the carnival-illusionist atmosphere of the Rolling Thunder Revue concert tour which is the subject-matter of the film; to the social and political atmosphere of distrust in the years when the film is set (1975/76, USA); to Martin Scorsese’s strong interest in the topics of misconception and (self)delusion as well as his permanent tendency to innovate in the framework of American mainstream film. This is also about a creative game; about the practical questioning of the idea of the primacy of documentary film in relation to fiction film when it comes to truthfulness; about commenting on the media providing misleading information which we very often don’t even recognize. Based on film tradition, compared to other cinematic tendencies of the period, and in the context of Scorsese’s work, the analysed film proves to be challenging in terms of the analysis but at the same time very rewarding in terms of understanding the basic procedures of film illusionism. [ABSTRACT FROM AUTHOR]

Autor istražuje korijene, razloge, postupke te značenja i recepcijske učinke upletanja prikriveno fikcijskih odsječaka u cjelovečernji film Rolling Thunder Revue: Priča Martina Scorsesea o Bobu Dylanu (Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese, 2019) Martina Scorsesea koji se formalno vodi i doživljava kao dokumentarni. Smisao potkopavanja dokumentarističke vjerodostojnosti višestruk je – usko je povezan s višedesetljetnim načinom samopredstavljanja protagonista, američkog pop-rock autora i glazbenika Boba Dylana; s karnevalsko-iluzionističkim ozračjem glazbene turneje Rolling Thunder Revue koja je u središtu pozornosti filma; s društveno-političkim okružjem nepovjerenja u vremenu i mjestu koje film opisuje (1975/76, SAD); s naglašenim zanimanjem redatelja Martina Scorsesea za teme zablude i (samo)obmane te njegovim trajnim nastojanjem inoviranja u okviru glavne struje američkog filma. Riječ je također o stvaralačkoj igri; o praktičnom propitivanju ideje o istinosnoj prednosti dokumentarnoga filma u odnosu na fikcijski; o komentaru svakodnevnoga medijskog zavaravanja koje često niti ne primjećujemo. Na podlozi filmske tradicije, a u usporedbi s drugim strujanjima u filmskoj umjetnosti epohe, te u kontekstu Scorseseova opusa, analizirani se film pokazuje analitički izazovnim, ali veoma zahvalnim djelom i za razumijevanje temeljnih postupaka filmskog iluzionizma. [ABSTRACT FROM AUTHOR]

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