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更新至04集
許瑋甯,陳昊森,尹馨,薛仕凌,王渝屏
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更新至預告片
張譯,張頌文,李一桐,張志堅,吳剛,倪大紅,韓童生,李建義,石兆琪,高葉,李健,王驍,蘇小玎,郝平,林家川,阿如那,鮑大志,令卓,岳陽(大陸),寧曉志,孫巖,崔志剛,曲柵柵,王沛祿,王宏,鄭家彬,馮兵,趙梓衝,蘇茂洋,康福震,秦戈,趙龍豪
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獨家中文字幕
劉志賢,閔道允,尚宇,新春,宇烈
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完結
吳磊,趙露思,郭濤,曾黎,保劍鋒,童蕾,李昀銳,餘承恩,徐嬌,曹曦文,施詩,陳意涵,張月,汪卓成,王梓薇,高寒,許娣,張天陽,彭楊,沙寶亮
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預告片
井柏然,譚松韻,李岷城,張柏嘉,王皓,張喬耳,許榕真,梁天,吳玉芳,宋寧峰,郭笑天,劉陸,張恩碩,沙寶亮,海鈴,李墨之,鄭家彬,龔毅星,薛宇檳,賀鏹,吳承澤,孫雅麗,蘇鑫,李思奇,宋一雄,龔銳,杭一帆,陸宇鵬
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正片
鄭大英
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羅雲熙,白鹿,陳都靈,鄧為,孫珍妮,于波,耿業庭,黃馨瑤,鄭國霖,黃海冰,李沛恩,劉敏,何中華,王一菲,肖順堯,常魯峰,張家碩,張芷溪,陳博豪,汪汐潮,李家豪,盧勇,徐美玲,王駕麟,嶽躍利,曲尼次仁
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首支預告
王鶴棣,陳鈺琪,何潤東,曾黎,鶴男,王櫟鑫,關暢,韓浩天,程梓
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更新至06集
鄭愷,陳鈺琪,王鶴棣,張紹剛,袁文康,梁超,吳亞衡,張悅馳,程梓,合文俊,吳明晶
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更新至06集
張彬彬,徐璐,王佑碩,鄭合惠子,王以綸,馬月,張子健,呂行,張雅卓
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正片
李恩美
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陳飛宇,張婧儀,趙志偉,曾可妮,崔雨鑫,錢迪迪,姜梓新,馬可
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更新至06集
鞠婧禕,郭俊辰,劉冬沁,陸婷玉,馬月,張志浩,宋昕冉,寇振海,聶子皓,姜杉,何奕辰,胡坤,章秘蜜,張大寶,張嘉鑫,鼎傑,郭康敏
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更新至01集
陳展鵬,唐詩詠,馬國明,陳山聰,江美儀,劉穎鏇,劉佩玥,張頴康,陳自瑤,歐瑞偉,鄧永健,朱斐斐,胡諾言,郭子豪,伍樂怡,鄭啟泰,彭懷安,莊思明,董敬文,許家傑,吳家樂,楊證樺,容天佑,趙希洛,阮浩棕,李嘉晉,李爾晨,陳國峰,潘冠霖,利穎怡,古天祥,袁鎮業,馮素波,邵卓堯
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更新至06集
李一桐,畢雯珺,何瑞賢,陳鶴一,馬月,楊仕澤,王茂蕾,鄧英,傅首爾
"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his mand of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly being. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without ment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are mitted and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.