MacColl, I gather, was a traditionalist who sought to preserve, rescue, and restore historic forms; Dylan was a modernist (like Joyce) who sought to highlight them, exploit them, stretch them, and create his own very different work in part out of them.

The Radio Ballads and MacColl's theatre work don't have any precedent in folk tradition, so you're talking about two different kinds of modernism, rather than modernism and not. MacColl's came mostly out of Brecht, who Dylan never seemed to relate to, maybe with the exception of "Hattie Carroll".

There was quite a bunch of modernist song and poetry that Dylan did pick up on; I wouldn't have thought Joyce was significant. The mid-century mostly-British surrealist school was more accessibly usable.

Either of them could have recycled Prévert, but I don't think either bothered looking outside material easily accessible in English.