Hollywood Foto-Rhetoric: The Lost Manuscript
By Bob Dylan and Barry Feinstein
3.5/5
()
About this ebook
Inspired by a series of photographs that Feinstein took in Hollywood during the 1950s and 60s, Bob Dylan wrote an extraordinary series of poems that have remained unpublished for decades. They are thought-provoking, witty and erudite observations of the world; through the lens of Feinstein's photographs, they speak volumes about the anonymous faces and places of Los Angeles, and offer wry commentary on images of stars and legends in the neighbourhood at the time. Photos of Frank Sinatra, Marlene Dietrich, Judy Garland float through the book, as do poignant images of starlets, casting couches, employment agencies and palm tree'd boulevards. Feinstein was there with a camera to capture some world-famous events, such as Marilyn Monroe's memorial service, and he photographed the forgettable moments, preserving them perfectly and timelessly. Bob Dylan's unsettling and distinctly unique perspective informs and enlivens every page, an irresistible interpretive voice narrating the visual images from photo to photo.
Bob Dylan
Bob Dylan has released thirty-nine studio albums, which collectively have sold over 125 million copies around the world. He won the Nobel Prize in Literature and has been awarded the French Legion of Honor, a Pulitzer Prize Special Citation, and the Presidential Medal of Freedom, the country’s highest civilian honor. His memoir, Chronicles: Volume One, spent a year on the New York Times bestseller list.
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Reviews for Hollywood Foto-Rhetoric
13 ratings2 reviews
- Rating: 5 out of 5 stars5/5Creative mix of photos and poetry....excellent art form...
- Rating: 2 out of 5 stars2/5Being a choice of photographs, many invoving the film industry as it was in the early 1960's, accompanied by poems written by songwriter Dylan. Only a few of the photographs are particularly moving or involving. As for the poems, there never has been a photograph improved by juxtaposing it with a poem, and there never will be.
Book preview
Hollywood Foto-Rhetoric - Bob Dylan
HOLLYWOOD FOTO-RHETORIC
THE LOST MANUSCRIPT
TEXT BY BOB DYLAN
PHOTOGRAPHS BY BARRY FEINSTEIN
Special thanks to Sarah Hochman, editor; Chelsea Hoffman, lead research; and David Rosenthal.
Copyright 2008 by Bob Dylan Photographs copyright 2008 by Barry Feinstein Foreword by Luc Sante copyright 2008 by Luc Sante Introduction by Billy Collins copyright 2008 by Billy Collins
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Designed by Julian Peploe Studio
Manufactured in the United States of America
10 9 8 7 6 5 4 3 2 1
Library of Congress Cataloging-in-Publication Data
Dylan, Bob 1941-
Hollywood foto-rhetoric: the lost manuscript / Bob Dylan ;
photographs by Barry Feinstein
p. cm.
Prose poems.
I. Feinstein, Barry. II. Title.
PS3554.Y56H662008
81 I’.—dc22
2008038164
ISBN-13: 978-1-4391-1250-2
eISBN-13: 978-1-439-15324-6
ISBN-10: 1-4391-1250-9
A CONVERSATION WITH BARRY FEINSTEIN
Barry, how did you first make your way to Hollywood?
How did I make my way to Hollywood? I drove there. I wanted to get into the movie business. I was working for Columbia Pictures at the time for Harry Cohen as a production assistant.
How did Hollywood Foto-Rhetoric begin? Is this a combination of different photographic projects?
No, it wasn’t that glamorous. I thought Hollywood would make a good essay. So I started making all the pictures that looked weird. Like the cars in the garage, the Rolls-Royce in front of unemployment, and all of those things. Just shot them and shot them and shot them and I hoped to someday do something with them.
And what gave you the idea to have Bob Dylan write the text for the photos?
I just met him in New York and I liked him and I liked his music. I liked the songs that he wrote and I asked him if he’d like to do it, and sure enough he came out to California and took the pictures [from me] and wrote ’em. Easy as that. He hit it right on the head. I mean they really made the pictures more interesting, I think.
How does it feel to revisit these particular photos after so many years?
Well, you know, I never lost track of them. I always thought about them and often looked at them and it was good to get them finally out of the file.
After the lifetime that you’ve spent behind the camera, what has been the best part of the job