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During the Crimean War, Roger Fenton took two nearly identical photographs of the Valley of the Shadow of Death-one of a road covered with cannonballs, the other of the same road without cannonballs. Susan Sontag later claimed that Fenton posed the first photograph, prompting Morris to return to Crimea to investigate.
Errol Morris Looks For Truth Outside Photographs - wbur.org Errol Morris is regarded as one of the world's most important filmmakers and is best known for his documentaries The Thin Blue Line and the Oscar-award winning Fog of War. Erosion: On Errol Morris | The Nation Erosion: On Errol Morris Erosion: On Errol Morris ... which of two photographs by Roger Fenton, from the Crimean War, was taken first; and how much guilt can be inferred from a digital photo of an ...
For a rephotographic study - David R. Jones, 2012, In the Footsteps of Roger Fenton, Crimean War Photographer, (www.lulu.com: self-published) Λ For a detailed analysis of the different photographs taken by Roger Fenton at the Valley of the Shadow of Death see: Errol Morris, 2007, 25 September, 'Which Came First, the Chicken or the Egg?
History and Hypocrisy: The Thin Blue Line Debate | Brothers ... By the 1970's, police departments all over the United States were adopting the moniker. In 1988, Errol Morris directed a documentary film called "The Thin Blue Line". The film detailed the murder of Dallas Police Officer Robert W. Wood and the subsequent trial of his accused killer. Human Assets - Immerse "Photos lied from the outset," he observes. "'Errol Morris explores this brilliantly.'" In an interview on NPR's All Things Considered, Morris reflects on two photos of the Crimean War taken by photojournalist Roger Fenton at the same spot. One had considerably more cannonballs in the road than the other.
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Errol Morris Archives | Open CultureTag Archive for errol ... In this video created by the Guardian, writer and award-winning documentary filmmaker Errol Morris talks about the nature of truth, art, and propaganda in photography. He draws examples from the photographs of Abu Ghraib and the Crimean War, both cited in his book Believing is Seeing, and he asks the viewer to consider a most fundamental question: how does a photograph relate to the physical ...
Errol Morris doesn't have much truck with the old saw about a picture being worth 1,000 words. For him, a picture, especially a documentary photograph, often needs 1,000 words - at the very least.
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