ABSTRACT
The conclusion takes up the question of whether Bob Dylan can be considered the auteur of some or all of his cinematic ventures. It is difficult to ignore his films’ rich continuities, and according to certain criteria, a form of structural auteurism does indeed apply to several of his films, while others simply resonate with his music and lyrics on thematic or conceptual grounds. However, this conclusion raises further questions about Dylan’s auteuring of his works more generally, and at what point his auteurial influence gives way to brand extension done with his (gossamer) blessing. Dylan’s music videos are instructive case studies by which to explore this quandary. Their discussion occupies the conclusion’s central section. This topic leads to a consideration of how similar questions around authorship emerge across Dylan’s output. Analysis briefly alights on how the auteurship concept has been extended to popular music and the degree to which Dylan’s musical auteurship can or should coalesce with its cinematic equivalent. Lastly, the chapter reflects on ways these issues may be further explored, namely through a more thorough examination of the musicality present in Dylan’s films and the potential value of actor-network theory in bridging the multiple strands of Dylan’s art and its broader influence and reception.
