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Errol Morris Expands the Documentary Genre. An Analysis of "The Thin Blue Line"
Term Paper, 2016

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Table of Content
1. Introduction
2 The Thin Blue Line - A Documentary

2.1 Traditional Documentary Elements
2.2 The New Documentary
3. The Narrative Documentary

3.1 Linear and Nonlinear Narratives
3.2 Historical Narratives
4. The Experimental Documentary

4.1 Experimental Features
4.2 The Thin Blue Line - An Experimental Documentary
5. Conclusion
Works Cited
1. Introduction
In November 1976, the protagonist, Randall Adams, moves to Dallas with his brother Ron. One day after work, he runs out of gas and meets David
Harris who picks him up. They spend the evening and night together, drink beer, smoke marijuana, and go to a drive-in movie. Later that night, either
Harris or Adams murders police officer Robert Wood during a pull-over on Inwood Road, Dallas. The police department charges the supposed “drifter”
Randall Adams, who was sentenced to death in 1977.
Errol Morris came across the case, when he interviewed Adams about one of his forensic psychiatrists James Grigson alias “Dr. Death”. He recognized
the injustices and mistreatment during the investigation and trail of Randall Adams. Therefore, he dropped his previous project to start one about
Randall Adams (Morris, Interview Gallery; Morris, The Museum of Modern Art with Ron Rosenbaum).
The filmmaker creates The Thin Blue Line, an investigative documentary, which reviews the event from various perspectives. A common denominator
is the extensive use of interviews with the actual people involved in the case and of reenacted scenes. The interviews are conducted with the suspects,
David Harris and Randall Adams, the Dallas and Vidor police officers, the attorneys of Adams, three friends of David Harris, the judge, and the
witnesses of the trial. Several positive critics and awards show the success of the rather new form in the documentary genre (Mathews). Morris uses
new strategies to make his case for Mr. Adams and opens the door to new techniques, narratives, and interpretations. Hence, the paper deals with the
following research question: Is Errol Morris’ The Thin Blue Line a new experimental documentary?
The paper unfolds the quest for new elements and experimentation in three distinct chapters. The first introduces the documentary genre and presents
its traditional and modern features. Those are compared to the documentary The Thin Blue Line. In the following chapter, the debate moves towards
the narration in the film, discussing how far a classical, nonlinear, or historical strategy is included. The final chapter examines experimental film
features as another part in the documentary. Taken together at the end, the paper shall reveal that experimental and unusual techniques are incorporated,
but the documentary does not consciously separate itself from its own genre and purpose. The disruption is not omniscient in the whole film; it rather is
a composition between at least two genres and it has an unsettling force.
2 The Thin Blue Line - A Documentary

2.1 Traditional Documentary Elements
In an interview with Ron Rosenbaum, Errol Morris introduces his approach to documentary film as a form that reveals an “interior world” of its chosen
topic. He wants to explain the self-perception of the individual and collective “mental landscape”. As a result, the director sees the usage of language
as its key indicator (Morris, The Museum of Modern Art with Ron Rosenbaum). Therefore, the various interview segments structure The Thin Blue
Line. The film lacks any narration or voice-of-god to guide the audience through the documentary. In other words, “personal language” influences the
viewers perception on the case of Randall Adam and the people involved (Curry 157). It appears that Morris digs deeper than the state officials in 1976
and 1977 and offers new insights, which result in the release of Randall Adams in 1989 (Miller).
In contrast to Morris’ proposal, Timothy Corrigan and Patricia White’s The Film Experience: An Introduction defines the documentary broadly as a
“[...] visual and auditory representation of the presumed facts, real experience, and actual events of the world” (254). Furthermore, Jay Rosenblatt
highlights representation of ‘real people’ in historic situations as a cornerstone of documentary filmmaking (qtd. in Johnstone). The first interviews in
the film establish the original information about the case, however, the defendants of Adams oppose those initial conclusions and raise critical
questions about the investigation and trial. For example, The Thin Blue Line presents the criminal history of David Harris with original police
documents, Harris’ confession to prior crimes, and accusations by Edith James and Dennis White. Yet, the criminal record was not allowed as evidence
in the trial of Randall Adams - even though according to Edith James, Harris committed another robbery with the same weapon (Morris, The Thin Blue
Line 00:42:1000:46:14). Hence, The Thin Blue Line combines new perspectives with the original case.
In addition to a general definition, the documentary uses “contrastive organizations” to present the contradictions between two sides (Corrigan and
White 265). The Thin Blue Line includes several oppositions, for example concerning the investigation of David Harris’ car. In a first statement,
officer Teresa Turko names a blue Chevrolet Vega as the car of the murderer but this was the wrong brand (Morris, The Thin Blue Line 00:15:19-
00:15:59). In a different scene, the establishing shot was a tilted newspaper article with the headline ‘Officer put on leave pending investigation’ with a
picture of officer Turko. The camera zooms in to a close-up of her face while twisting into an even position. A voiceover begins to evaluate her
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statement and the film cuts to the interview: “[...] And she gave us a pretty good description of the car. As it turned out, her description of the carGot
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very close.” An immediate cut shifts the picture to a mid-shot of a back of a Chevrolet Vega and zooms in for an extreme close-up of the brand name in
the middle of the trunk. Furthermore, the score begins to play. After two seconds, the film cuts to another mid-shot of a back of a car. This car is a blue
Mercury Comet - the camera repeats the revision movement and zooms in. In the following scenes, the film displays the differences of the rears to
show the minor details and different polices officer comment on the confusion. The contrastive organization climaxes when officer Jackie Johnson
names the wrong brand and has to correct himself. The reenactment ends with the flight of both cars from the murder scene and officer Turko shoots at
the accelerating car (Morris, The Thin Blue Line 00:35:19-00:37:15).
Returning to the use of language, according to Corrigan and White, documentaries could use interrogative or persuasive positions to guide its content
(267). The first sees a subject under investigation - The Thin Blue Line investigates the murder of officer Woods and the trial of Randall Adams. In
addition, this position could cause more questions or more knowledge (267). The unspecified statement does not apply for the chosen documentary
because on the one hand, Morris intentionally raises critical questions and on the other, he provides resolutions for some of them (Morris, The Museum
of Modern Art with Ron Rosenbaum). The latter position combines an analytic form with compelling arguments to change the viewer’s assumptions
and emotions about the case. In her review of The Thin Blue Line, Renne R. Curry identifies an intentional persuasion (157). She stresses the change
of perception about the crime to highlight Randall Adams’ innocence: “The Randall Adams we meet in this film is Errol Morris’ definitive construct of
an innocent man, particularly dressed and meticulously situated for the occasion” (156). In view of all that has been mentioned so far, Richard K
Sherwin infers that “[t]he persuasive force of Morris’ techniques within the documentary frame of the film is strong” (59).
Moreover, Chris Cagle argues for a categorization of approaches to documentary filmmaking in addition to general elements like transparency,
“economy of communication”, and an aesthetic norm (45). On the one hand, a filmmaker could aim for an observational perspective that intends to
provide a realistic image of the topic (48, 55). Thus, The Thin Blue Line employs interviews with the original people, newspaper articles, documents,
evidence, and reenacted scenes to gain credibility. On the other hand, the documentarist deliberately engages in the film to create a relationship
between ‘social actors’1 and himself or herself (45, 55). However, the ‘interactive approach’ is not present in the documentary. Errol Morris sits behind
the camera and has no visual and only one auditory appearance. The exception is the recording of his voice in the last interview with David Harris
(Morris, The Thin Blue Line 01:51:08-01:54:40).
Morris highlights ‘cinema verite’ as paramount for the release of Randall Adams (Morris, Play It Again, Sam). The cinematic school confrontationally
emphasizes the portrait of ‘real’ events, people, and objects by camera recordings (Corrigan and White 276). Furthermore, a distinction is drawn
between the French tradition and a more observational form called ‘direct cinema’ (Corrigan and White 276-77). Chris Cagle’s Postclassical
Nonfiction: Narration in the Contemporary Documentary gives comprehensive description of distinct elements of the ‘cinema of truth’. Foremost, it
contains an open and ambiguous argumentation with multiple contrastive or causal positions (55). A primary opposition is drawn between Randall
Adams side including the director and anyone opposing his innocence. Nevertheless, Errol Morris distances himself from the discourse by cutting out
his interview questions but employs a strong favorability for Adams’ innocence by using specific cuts and editing.
Taken together, these results suggest that the documentary applies traditional documentary features, elements, and approaches in order to give a
trustworthy account of the events. In the following subchapter, the paper looks for recent or contemporary methods of documentary filmmaking in The
Thin Blue Line.
2.2 The New Documentary

Next to traditional elements, temporal modern factors play an essential role in documentary filmmaking. In addition to interviews, reenactments are a
key element for The Thin Blue Line. Morris explains its importance with the example of the contradictory statements from officer Turko (Morris, Five
Key Witnesses). Firstly, she claims to have seen only one person in the car with sandy blonde hair. Later she changes her statement to two people
sitting in the car and the driver has bushy hair. Hence, the film presents the crime and tries to explain it by a reduction to essential questions and a focus
on minor details (Morris, Play It Again, Sam). The reenacted scenes employ documentary techniques to depict ‘true’ or ‘real’ events. However, a
separation between reenacted and real events is crucial, a film needs to be as clear as possible in the distinction for its audience. But, Morris argues that
a mix up is unrealistic because the event happened eight years after its release and nobody was present with a camera at the time (Morris, Play It
Again, Sam). According to Johnstone, if a film does not fit into the academic categories, it shall be defined as a “hybrid”. The paper Redefining the
Documentary: Experimental Forms Explore New Territory describes the design of hybrids in documentaries as the combination of the essential
qualities of traditional documentary and its interrogation and expenditure of the basic traits, and the ventures into the unpredictable. Johnstone makes
no attempt to explain the meaning of the last one. Therefore, an interpretation could involve too many features from an unpredictable narrative,
cinematic techniques, or its aesthetic form.
The Thin Blue Line incorporates various traditional elements as discussed in the previous chapter but expands for example with the reenactments.
Chris Cagle highlights complexity as another key element for hybridity because new form has to disconnect from old taxonomy (46).
Next to overarching categories, the content and details may reveal another side of new documentaries. Beginning with the choice of evidence, a
documentary may include historic documents or archival imagery and sound to create a coherent experience. Jeanne C. Finley mentions the filmmakers
power to transfer these materials and their films into an artistic authority (qtd. in Johnstone). Morris does not insert himself as an artist - his “obsession
with details” and chosen methods create a documentary (Morris, Play It Again, Sam). He reconstructs the historic events through interviews in a
retrospective version, includes documents, and other evidence. In The Thin Blue Line, Morris shows over-the-head interviews and adds original
evidence from the case and trail, for example as Adams explains the events around his voluntary statement, the film cuts and shows it (Morris, The
Thin Blue Line 00:34:45). Furthermore, the film similarly introduces new phases with newspaper articles and court drawings were also included. One
example for this is the introduction of Michael Randall, the third witness. The scene begins with an extreme close-up of the “third witness” from a
newspaper, followed by close-up of a drawing of Randall in the witness stand, and the interview (Morris, The Thin Blue Line 01:07:51-01:08:16).
Next to hybridity, Chris Cagle suggests a postclassical documentary as another form of contemporary filmmaking the genre. In its center is a specific
narrative which will be analyzed in the following chapter. In addition, a film has a temporal openness for multiple arguments and is quasiopen for
counter positions (55). The documentarist highlights the meaningful argument of the favorable side with “long-take aesthetic”, “intellectual montage”,
and moderate use of “ironic juxtapositions” (55). Cagle’s key elements are not completely compatible with The Thin Blue Line. Morris does not
restrict the opposition to Randall Adams - Harris, the police officers, and witnesses can make their statements about the murder or trail. However, the
editing persuades the audience to share the view of Adams’ innocence (Morris, Play It Again, Sam). For example, the events around the first arrest of
Randall Adams are explained by himself and highlighted by the reenactments in an interrogation room. Mr. Adams accuses the Dallas police of
tampering with evidence and mistreatment of a prisoner. In contrast, officer Gus Rose calls his first encounter with Randall Adams “casual, friendly
conversation [...] to size him up”. After the description of the situation, officers Rose and Johnson elaborate his attitude towards them and his
questionable mental status (Morris, The Thin Blue Line 00:07:16-00:11:26). The scene shows the persuasive force of reenactments because its length
and elaboration make Randall Adams’ statement more credible. Moreover, the police officers answer short and less detailed. In combination, it creates
a reluctance towards the police department.
To conclude, the documentary

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Morris, The Thin Blue Line especially uses “slow-motion re-enactments” to prove the innocence of Adams (Morris, Play It Again, Sam). However, the
connection to traditional forms is not completely terminated because the established aesthetics and language are used to give a credible account of the
historic events. Next to the analysis of techniques and montage, the paper will expand its research to the storyline of The Thin Blue Line in the third
chapter.
3. The Narrative Documentary

3.1 Linear and Nonlinear Narratives
Timothy Corrigan and Patricia White name the “non-narrative” a prominent element of documentaries. These films constrain the narrative or story to
an inferior position but consequentially support other more formal organizations (261). Traditionally, narratives are associated with the commercial
industry and the characters shall be recognizable, close, and resolute their actions during the development (Corrigan and White 261; Sherwin 65). More
progressive approaches may challenge the centrality of the characters, causality, or realistic depictions in order to move beyond the boundaries of a
traditional narrative sources.
While Corrigan and White focus on the choice to structure the film by a storyline, Richard K. Sherwin’s Law Frames: Historical Truth and Narrative
Necessity in a Criminal Case proposes a “narrative necessity” for criminal cases (66, 74, 80). Hence, The Thin Blue Line should apply a narrative to
explain the case of Randall Adams. Generally, Sherwin argues that social actors favor a coherent report but tend to skip events to sound more plausible
(42). They state past events, actions, characteristics, and give background information without an external limitation (41). The narrative shall reveal the
multiple forms of truth. Sherwin’s judicial perspective leads to the fragmentation of such statements into individual blocks. Those have to be
reassembled as construction of a new narrative which emphasizes new details in order speak a verdict (63).
Following the argumentation, Sherwin splits the case of Randall Adams into two narratives: Linear and Non-Linear Narrative (52). The first is a
“classic linear fashion” in which the audience recognizes beginning, development, and ending (52-3). The film starts with the reenactment of the mur‐
der of officer Woods and opens the investigation of his murder. During the main phase, Morris shows interviews according to the development of the
case and trial. The final act characterizes David Harris as a criminal - mainly through his convictions for unrelated crimes and Randall Adams’
accusations. The film ends with a taped interview of Errol Morris and David Harris. The combination of a “detective story” and a “causal-linear”
narrative involves the audience in the process of decision-making (Sherwin 52-3). However as stated in the previous chapter, Morris employs a more
persuasive position and supports Randall Adams (Morris, Five Key Witnesses; Morris, Interview Gallery; Morris, The Museum of Modern Art with
Ron Rosenbaum; Morris, Play It Again, Sam; Sherwin 59). Curry has taken a different approach by focussing on the tales of the social actors, its
“fantastical elements”, and the continuous use of interviews as evidence for a linear narrative (154). The Thin Blue Line emphasizes an oral history of
the social actors to gain integrity but a loose structure or chronological rendering is not compromised by Curry’s argument (Curry 154; Abrash and
Walkowitz 206; Nichols 42). The conscious arrangement by Morris provides the proposed linear structure. Nevertheless, both authors agree that the
tape recording is the resolution to the mystery with the final sentences (Sherwin 52; Curry 164):
I’ve always thought about.. .if you could say why there's a reason Randall Adams is in jail, it might be because the fact that he didn't have no place for
somebody to stay that helped him that night...landed him where's he’s at. That might be the reason. That might be the only, total reason why he’s where
he’s at today (Morris, The Thin Blue Line 01:54:07-01:54:39).
The second narrative is a provocative and unresolved non-linear composition (Sherwin 52). In opposition to the clear resolution, the other tale does not
close the mystery of Randall Adams. Furthermore, Morris creates a universe of fate and fortune as another complement of a non-linear narrative
(Sherwin 53). Randall Adams introduces the idea of the American frontier in his first sentence: “In October my brother and I left Ohio. We were
driving to California.” The voiceover highlights the brothers goal and destination and is supplemented by a long shot of the Dallas skyline. Moreover,
Adams continues to talk, the film cuts to a mid-close-up of his upper body. He sees the immediate job offer “[...] as if I was meant to be here” (Morris,
The Thin Blue Line 00:02:18-00:02:47). Sherwin calls it a “disquieting sense” which sustains across the documentary (52). Next to the American
dream, the audience encounters various mysteries, which are not solved at the end of the film. This is certainly true in the case of the drive-in movie
scene. Adams and
Harris drive to the cinema to watch Student Body and Swinging Cheerleaders - two soft pom movies - together and drink some beer. The scene creates
a distance and a more questionable image of the relationship between the two suspects because Harris was a minor and Adams did not vigorously resist
these actions at the beginning (Morris, The Thin Blue Line 00:27:31-00:30:21).
In retrospect, The Thin Blue Line incorporates a structured and linear storyline. The film has an introduction, develops further in a chronologic fashion,
and solves the historic mystery in the end. Scholars, like Sherwin and Curry, stress a non-narrative or non-linear path of the film. This taxonomy
focuses on the formal aspects of narration, however, a documentary although implies to depict ‘realistic’ events. But as mentioned in the previous
chapters, this is no ongoing process throughout the complete film (Curry 157-8; Abrash and Walkowitz 205-6, 212; Morris, The Museum of Modern
Art with Ron Rosenbaum; Morris, Play It Again, Sam; Sherwin). Therefore, the following subchapter will combine the historic truth(s) with the
narrative form.
3.2 Historical Narratives
The aim of this subchapter is to introduce an historic-orientated narrative and analyze The Thin Blue Line according to these features. Corrigan and
White state a basic orientation with the nonfictional elements (261). A documentary shall be a “factual description of actual events, persons, or places”,
which incorporates evidence or newspaper articles to gain credibility. Furthermore, filmmakers might artistically present the topic and interview actual
participants (261).
Difficulties arise, however, when an attempt is made to find the historic truth. A key debate evolves around the question: Is there one truth or are there
multiple truths (Curry 158; Abrash and Walkowitz 203-06, 212-13; Morris, The Museum of Modern Art with Ron Rosenbaum; Sherwin 43)? Morris
describes multiple claims as a “truth-combo platter” which contains the several views on a discussed issue. He attempts to reveal these positions and
present more information to aim for the one historic truth (Morris, The Museum of Modern Art with Ron Rosenbaum).
In their journal article Sub/versions of History: A Meditation on Film and Historical Narrative, Babara Abrash and Daniel J. Walkowitz argue that the
past could be seen from “multiple perspectives” (203, 206). The Thin Blue Line shows different views about the murder, trial, characteristics of the
suspects from several individuals. In addition, reenacted scenes display the interviews, the original version, and the filmmaker’s ideas; evidence,
newspapers or other implemented information are edited into or between scenes. Rosenbaum names the combination a “series of perspectives” where
the innocence of Randall Adams is only partially relevant. Morris replies: “Yes, I believe there is such a thing as real, historic truth. I am no post-
modernist” (Morris, The Museum of Modern Art with Ron Rosenbaum). Hence, he investigates and uses written, visual, auditory ‘text’ to explore
connections, social and power relationships.
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Abrash and Walkowitz review The Thin Blue Line from a historian’s perspective as an example for succeeded historical narrative (203-213). First of
all, the large production has informed a considerable public audience about the events surrounding the murder of officer Woods (204). The followed
impact gives documentarist a possibility to “write history” (204). In this case, the film influenced the judicial system to reevaluate the case and
ultimately release Randall Adams from prison.
Moreover, they consider the force to disturb conventional forms communication within the field of history (205). The Thin Blue Line challenges the
presumed truth because it was an incomplete picture during the production. Similar to the categorization as a detective film, the audience is involved
through its sense of history (206). It creates a connection between the audience’s personal and historic experience which provokes a critical
reevaluation of the criminal justice system, capital punishment, and the case of Randall Adams (213). The narrative may use post-structuralist
techniques which question a singular historic truth - Morris opposes this statement (Morris, The Museum of Modern Art with Ron Rosenbaum). The
theory further states that a post-structural film operates outside the boundaries of “academic” (Abrash and Walkowitz 205). Both modes operate against
the aesthetics of a traditional narrative because they are explicitly not chronological, factual reports of the ‘real’ world.
In contrast to Morris himself, Abrash and Walkowitz define his narrative strategy as post-modern from a historian’s position. Their post-modern
definition does not comment whether there is one truth in a physical world, it rather sees specific changes and interpretations as paramount for their
concept (212-13). The narrative reveals new form, content, and development which raises questions about the understanding and interpretation of
evidence. Furthermore, the theory recognizes a conflict between the “historic veracity” and the “construction of ‘the real’” (213). The Thin Blue Line
takes a different approach because it shows multiple constructions on the subjective positions of the ‘real’ through the interviews and reenactments.
The various perspectives shape the awareness of the audience, contradict previous assumptions, and question the established assumptions about the
case of Randall Adams. However, Morris and Rosenbaum agree upon the investigative
mode in the documentary. The film evolves around critical questions like: Who was driving? Who pulled the gun out from underneath the seat? Who
shot the police officer (Abrash and Walkowitz 205; Morris, The Museum of Modern Art with Ron Rosenbaum)?
The previous chapter has shown that Errol Morris’ The Thin Blue Line is closely linked to an historic perspective about the truth. The film attempts to
reveal new history with nonfictional basis but it operates outside the traditional narrative of historians. In the last chapter, the paper will examine the
experimental features from a general definition and the previous chapters.
4. The Experimental Documentary

4.1 Experimental Features
In the following chapter, the paper will examine the character traits of an experimental film and analyze Morris’ documentary on this basis. Firstly, an
experimental film is produced by an individual artist and seeks a small audience that is motivated to engage with unconventional methods. The Thin
Blue Line was produced by Home Box Office (HBO), American Playhouse, Channel 4 Television Corporation, and Third Floor Productions
(IMDb.com, Inc.; Corrigan and White 284; Curry 153). Hence, it was not a part of an idealist small production circle but the theatrical release reached
a public audience and brought the case of Randall Adams to national attention.
In general, a film experiments with form and abstract imagery to approach and challenges the viewers in “fascinating ways” (Corrigan and White 284).
This film includes post-structural elements to create a combination of technical and verbal elements for the construction of innocence (Curry 155). It
uses a red rotating beacon between the first statement of Randall Adams and David Harris and after Harris described the shooting (Morris, The Thin
Blue Line 00:02:49-00:02:52; 00:26:23-00:26:27). In addition, the film uses post-structuralist elements with the comparison of the two blue cars as
described the first chapter. Furthermore, an experimental form is presented, during the evaluation of officer Turko’s statement, Marshall Touchton
mentions “the thing” that was really interesting. The film cuts into a black screen and a pocket watch begins to swing from side to side. A minimalistic
score plays and the watch accelerates and slows down during a 28 seconds hypnosis session. In the last seconds, a voiceover begins and Touchton
explains the results of this experimental technique (Morris, The Thin Blue Line 00:17:43-00:18:09). The scene fulfills Corrigan and Whites
requirement to show obvious “bizarre” or “mundane” images because it does not match the traditional documentary conventions (284). Taken together,
Curry summarizes The Thin Blue Line as a “blend of documentary” and a “surrealistic representation” of the case of Randall Adams (158). The
voiceover narration empowers the credibility of the shown imagery and historic truth. Moreover, he associates the promotion by HBO with the altered
documentary format (Curry 158).
The Film Experience: An Introduction by Corrigan and White distinguishes documentaries and experimental film through their organizational form
(296-97). Whereas a documentary film uses expository positions like the persuasive or interrogative, experimentalists offer either a disregard to
“realism and rational logic” or an extensive formal work of art (296). The film does not use a strict formal imagery, rather oppose a stringent narrative
and logic. Therefore, a metaphoric association appears to offer a suitable explanation for the connections between multiple perspectives, events, and
images (297). The audience develops new perceptions, emotions, or ideas from the encountered experience (285). This is certainly true in the case of
Emily Miller. She introduces herself in the film as a person eager to solve mysteries or crimes. In her childhood, she dreams of becoming a detective -
the film immediately cuts and inserts an old black and white scene from a detective movie. She continues her statement: “It’s always happening to me,
everywhere I go, you know, lot of times there’s killing or anything, even around my house.” A perhaps positive view of Ms. Miller shifts towards a
critical one because it sounds rather bizarre when a person is surrounded by death and murder. The scene continuously switches between the old film
and her interview footage. She explains and justifies her involvement by determining a murder before the police does (Morris, The Thin Blue Line
00:57:33-00:59:12). The witness denounces herself through the statement and gets further ridiculed by the implementation of the old detective movie.
This changes the perception of the first of three witnesses who are partially responsible for Randall Adams’s conviction (Morris, Five Key Witnesses;
Nichols 44).
The last analyzed experimental feature is the confrontational approach by such films. Experimental films shock their audience through its visual and
auditory material. It provokes experiences outside the ‘real’ for example with juxtapositions of artistic elements and the camera recordings. The Thin
Blue Line does not harshly unsettle the audience with disgusting or eerie images. However, the documentary uses various reenactments and
illustrations to contradict the presumed facts and interview statements, for example it ridicules the statements of Emily Miller, R.L. Miller, or Gus
Rose. Furthermore, the last sentences by David Harris most prominently exonerate Randall Adams as a murderer.
This section has reviewed the key elements of experimental filmmaking in the documentary The Thin Blue Line. It contains post-structural and bizarre
images; it partially includes metaphoric assumptions to induce new perspectives about social actors, the investigation, and the trial. Moreover, Morris
confronts various statements through evidence or reenactments like the extensive dispute of officer Turko’s statement. A summary of the main findings
and of the principal issues and suggestions which have arisen in this discussion is provided in the next section.
4.2 The Thin Blue Line - An Experimental Documentary

With The Thin Blue Line Errol Morris created a documentary that aimed at freeing Randall Adams from prison. The film rewrites the investigation and
trial into a new version - but not only on the content level; it significantly operates with new features in the documentary genre, too.
The first chapter reviewed the traditional spectrum of a documentary. The film fulfills the idealized requirements to involve the ‘real’ people and
documents of the chosen topic, includes contrastive organizations, analytical and persuasive positions. Furthermore, Cagle’s observational perspective
is visible in the documentary (55). Morris sees the concept of cinema verite in his documentary, however, its definitions oppose significant elements of
The Thin Blue Line. Foremost, the documentary passively contradicts the presumed truth and presents different reenactments - not only the historical
truth.
The documentary genre includes new forms of presentation. The film integrates the available evidence artistically with rapid cuts or slow motion
zooms. Those are combined with interviews and reenacted scenes to create an unconventional combination of elements. Furthermore, The Thin Blue
Line opposes an active involvement of the documentarist to persuade the audience; Morris reveals the contradictions and solutions with the editorial
organizations of the interviews and additional evidence.
Next to the different styles, the paper looks into the narrative strategies of The Thin Blue Line. The film incorporates a progressive form of storytelling
because it uses and challenges linear structures on various occasions. A classic setup guides the audience through the murder, investigation, and trial,
which is complemented by nonfictional elements. Morris answers a lot of questions about the murder but leaves others unanswered. This non-linear
strategy does not satisfy the audience’s expectations like the believe in fate or the sexual aspects of Adams’ and Harris’ relationship. Furthermore, the
paper analyzed the potential of an historical narrative strategy in The Thin Blue Line. The film shows multiple perspectives of the murder and gives
various social actors the opportunity to state the view. Hence, the audience is confronted with multiple claims of truth. The reenactments and evidence
agree with and disagree with the oral histories in different scenes. The documentary bares one major contradiction in opposition to the interpretation of
multiple scholars like Sherwin, Abrash and Walkowitz, and Curry. The reenacted scenes and observational positions are at times fictional or
nonfictional depending on the statements in the interview which highlights the multiple perspectives and narratives of an event. The interpretations
argue that the combination and arrangement creates a more holistic picture and this is historic truth. Morris, however, believes in a single historic truth
that may not be revealed but nevertheless exists (Morris, The Museum of Modern Art with Ron Rosenbaum).
All in all, The Thin Blue Line incorporates various new forms and elements to pursue its goal: The release of Randall Adams. Morris combines
traditional, more progressive, and experimental features, techniques, and narrative strategies. It is rather a synthesis than a disruption.
5. Conclusion
This paper sets out to establish whether the documentary The Thin Blue Line is a new experimental documentary or a hybrid. It has examined the
concepts of traditional and new documentary and found out that it roots in a traditional format and engages with numerous new techniques. The study
identifies a contrastive organization, two rhetoric positions, and ‘cinema verite’ as established features. In contrast, the film does not fit into Chris
Cagle’s classification of approaches or definition of a postclassical narrative.
The second major finding is that the scripted reenacted scenes were an unestablished form in 1988. While other documentaries of the time had to
justify and clarify their reenactments, The Thin Blue Line uses them with changing details for the murder of officer Woods (Lacher). Furthermore,
Morris embeds original evidence from the police into the film. The artistic methods move the documentary close to hybridity which foremost
highlights the unpredictability of the genre.
The third chapter of the paper analyzed the narrative strategies and forms of The Thin Blue Line. It contradicts the popular opinion a non-narrative
structure is a key element of documentaries (Corrigan and White 261). The investigations of Cagle, Abrash and Walkowitz, and Sherwin have shown
that there is a storyline and the debate is about the question of a singular or multiple truth(s). Moreover, Sherwin distinguishes between a linear and
nonlinear narrative to evaluate the criminal case of Randall Adams. Morris’ documentary contains various aspects from both sides to structure his
narrative, for example it simultaneously supports the process of decision-making by the audience, a persuasive position, a disquieting sense, and sexual
tension.
Another perspective on narratives is an historic approach because The Thin Blue Line reviews a recent historic event. It has the goal to show the
innocence of Randall Adams which evolves into an active process of writing history. The discussion about truth continues in this field because a line is
drawn between historic veracity and the construction of the real. The documentary may show a variety of perspectives to understand the event, it has to
be mentioned again: Morris does believe in a variety of perspectives but also in a historic singular truth. In addition, this perspective moves into the
background when post-structuralism is introduced on multiple occasions in the film.
The experimental aspects of the film are not only the usage of old methods in a new genre but also structural elements like the short hypnosis of the
audience.
All in all, The Thin Blue Line incorporates multiple accounts and positions of the same event. These are artistically, traditionally, progressively, and
experimentally illustrated in different scenes of the film. The documentary stretches the boundaries of its genre through reenacted scene, post-structural
montages, and a new narrative strategy.
Works Cited
Abrash, Babara, and Daniel J. Walkowitz. “Sub/versions of History: A Meditation on Film and Historical Narrative.” History Workshop 38 (1994):
203-14. Web. <http://www.jstor.org/stable/ 4289325>.
Corrigan, Timothy, and Patricia White. The Film Experience: An Introduction. 4th ed. Boston: Bedford/St. Martin's, 2015. Print.
Curry, Renee R. “Errol Morris' Construction of Innocence in "The Thin Blue Line".” Rocky Mountain Review of Language and Literature 49.2 (1995):
153. Print.
IMDb.com, Inc. Der Fall Randall Adams: The Thin Blue Line (original title), n.d. Web. 17 Aug. 2016.
<http://www.imdb.com/title/tt0096257/combined>.
Johnstone, Mark. Redefining the Documentary: Experimental Forms Explore New Territory, n.d. Web.
<http://www.documentary.org/magazine/redefining-documentary-experimental-forms- explore-new-territory>.
Lacher, Irene.
We use “Documentary
cookies Criticized
to understand how forsite
you use our Re-enacted Scenes.”
and to improve The New
your experience. To York
find outTimes 29 Mar.
more about 2005.
cookies or to Web.
manage17
theAug.
usage2016.
of cookies, Got it
<http://www.nytimes.com/2005/03/29/movies/documentary-criti-
please read our privacy policy: https://www.grin.com/en/privacy-en/ cized-for-reenacted-scenes.html?_r=0>.
Mathews, Jack. “'The Thin Blue Line': Justice for All? An inside look at why a documentary that had real-life impact didn't make the cut in the Oscar
race.” Los Angeles Times 12 Mar. 1989. Web. 17 Aug. 2016. <http://articles.latimes.com/print/1989-03-12/entertainment/ca-1026_1_ thin-blue-line>.
Miller, Bobbi. “DA DROPS MURDER CHARGE AGAINST ADAMS: Vance cites insufficient evidence.” The Dallas Morning News 24 Mar. 1989.
Web. 17 Aug. 2016. <http://nl.news- bank.com/nl-search/we/Archives?p_product=DM&p_theme=dm&p_action=search&p_max-
docs=200&p_topdoc=1&p_text_direct-0=0ED3D061E4EC1AEE&p_field_direct-0=docu-
ment_id&p_perpage=10&p_sort=YMD_date:D&s_trackval=GooglePM>.
Morris, Errol. Five Key Witnesses, n.d. Web. 17 Aug. 2016. <http://www.errolmorris.com/film/ tbl_5witnesses.html>.
---. Interview Gallery, n.d. Web. 17 Aug. 2016. <http://www.errolmorris.com/film/tbl_tran- script.html>.
—. Play It Again, Sam: Re-enactments, Part One. New York Times Blog, 2008. Web. 17 Aug. 2016.
<http://morris.blogs.nytimes.com/2008/04/03/play-it-again-sam-re-enactments-part-one/ ?_r=0>.
The Museum of Modern Art with Ron Rosenbaum, 1999. Web. 17 Aug. 2016. <http://www.errolmorris.com/film/tbl_5witnesses.html>.
—. The Thin Blue Line: Miramax; YouTube, 1988. Web. 17 Aug. 2016. <https:// www.youtube.com/watch?v=OVltIJHDO3Y>.
Nichols, Bill. Representing reality: Issues and concepts in documentary. Bloomington Ind. u.a. Indiana Univ. Press, 1991. Print.
Sherwin, Richard K. “Law Frames: Historical Truth and Narrative Necessity in a Criminal Case.” Stanford Law Review 47.1 (1994): 39. Print.
1 Chris Cagle defines a social actor as the interviewed subjects of the documentarist, hence its anybody from witnesses to experts (45).
18 of 18 pages
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Title
Errol Morris Expands the Documentary Genre. An Analysis of "The Thin Blue Line"
College
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Maximilian Christian Kühn (Author)
Year
2016
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2 The Thin Blue Line - A Documentary

3. The Narrative Documentary

4. The Experimental Documentary

2 The Thin Blue Line - A Documentary

2.2 The New Documentary

To conclude, the documentary

3. The Narrative Documentary

3.2 Historical Narratives

4. The Experimental Documentary

4.2 The Thin Blue Line - An Experimental Documentary

---. Interview Gallery, n.d. Web. 17 Aug. 2016. <http://www.errolmorris.com/film/tbl_tran- script.html>.

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