Both camera and director were understood as acting unobtrusively as a kind of “fly-on-the wall”. Īs has often been remarked, one of the basic promises of 1960s US cinema verité was the recording and presentation of “truth” as a result of the access made available due to the use of the new lightweight cameras and innovations in recording technology. Kennedy and Hubert Humphrey through the 1960 Wisconsin primary election. The film has come to be regarded as an exemplary case of US cinema verité (sometimes referred to as direct cinema), a key text in a tradition begun by Primary (USA 1960), Robert Drew’s documentary which follows the trajectories of both John F. (Dylan to Horace Judson in Don’t Look Back)ĭon’t Look Back (USA 1967), the documentary of Bob Dylan’s 1965 concert tour of England, was only the first of a long string of “rock docs” made by Don Pennebaker. And you might even hear the wrong words…. Young, 1965) Īre you gonna see the concert tonight? Are you gonna hear it? … It’s gonna happen fast and you’re not gonna get it all. For example, he sang many songs in England he no longer sings here because the English audience is two years behind his American image. What happened, happened so fast, that people are still trying to figure it out. Even as a folk singer, Bob Dylan moved too fast, learned too quickly, made the old new too easily to many he was always suspect.