The Cinema of Errol Morris
David Resha
Wesleyan
<span >The Cinema of Errol Morris</span><span > offers close analyses of the director&rsquo;s films&mdash;from box office successes like </span><span >The Thin Blue Line</span><span > and </span><span >The Fog of War</span><span > to Morris&rsquo;s early works like </span><span >Vernon, Florida </span><span >and controversial films like </span><span >Standard Operating Procedure</span><span >.</span><span > </span><span >Film scholar David Resha&rsquo;s reappraisal of Morris&rsquo;s films allows us to rethink the traditional distinction between stylistically conservative documentaries, which are closely invested in evidence and reality, and stylistically adventurous films, which artfully call to question such claims of nonfiction and truth. According to Resha, Errol Morris does not fit neatly in this division of the documentary tradition. Rather, his experiments with documentary conventions constitute another way to investigate reality&mdash;in particular, to examine the ways in which his subjects understand, and misunderstand, themselves and the world around them. Seen within the nonfiction tradition, an Errol Morris documentary is a flexible form of lively, engaging storytelling and shrewd, cutting, in-depth reportage. </span>