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Screen 2008 49(4):440-449; doi:10.1093/screen/hjn054
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© The Author 2008. Published by Oxford University Press on behalf of Screen. All rights reserved

The courtroom and the closet in The Thin Blue Line and Capturing the Friedmans

Zoë Druick


  Abstract

In this essay, I argue that The Thin Blue Line (Errol Morris, 1988) and Capturing the Friedmans (Andrew Jarecki, 2003) are compelling explorations of both the knowledge – and the ignorance – produced by the existence of what Eve Kosofsky Sedgwick calls ‘the epistemology of the closet’ (1990), the structuring principle at the heart of homophobic culture. Ostensibly focused on wrongful conviction, the films both use a proliferation of signification in place of clear analysis of the queer sexuality at the root of their stories. This textual excess complicates the documentary tradition with which the films nevertheless engage.


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