How to Build Cross-Country Influencer Partnerships for Leads

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The role played by documentary filmmaker Leo Hurwitz , who directed these long moments of debate, is particularly mentioned. Hurwitz knew what it was like to hold a camera. He knew the questions raised by filming a trial. The subject of one of his documentaries in 1932 dealt with a case that remains one of the worst American judicial manipulations. 9 young black men from Scottsboro had been wrongly accused of a rape they had never committed. He also knew what news was on a major network. At CBS, he was the head of news. This filmmaker with extensive media experience therefore had a point of view. And it was this man who had been chosen by Milton Fruchtman, a producer at the American company Capital Cities Broadcasting Corporation based in New York. Prime Minister Ben Gurion had given him the green light, at a time when Israel did not yet have television.



16 years after Nuremberg, the staging of justice gambling data australia was ordered according to the capacities and soon, the canons of a new technology, television. It wrote the story of the trial shot by shot . Live, the director filmed, edited in the same momentum. The audience watched followed his choices, while conducting his investigation, on the faces - that of Eichmann especially -, on the words of the witnesses - essential element of the detailed revelation of the final solution -, on images filmed in the camps - terrible visions of the places of mass death. This work of investigation continued for 9 months, in this dramaturgy cut by television .

Everyone was able to question and wonder about this intrigue that the filmed trial brought to life. Reporters from the courtroom mobilized to tell the story. They too were watching TV, even if some of them were first and foremost war correspondents.

For Joseph Kessel, for example, these images which showed Eichmann, " were more true, more detailed, more revealing than the features of his face directly offered to the public ."

The companion of the image of justice



Another journalist was also present. He became the motionless reporter of the courtrooms, the person in charge of narrating the crime. High timbre, clear voice, and strong conviction, here is Frédéric Pottecher , inseparable companion of the trial on French television. 2, 3, 4.5 minutes, his interventions on the evening news left their mark. It was the era of the legal columnist , almost the witness, today fossilized, of a forgotten image of justice. We heard him, we saw him on each of the major cases, Ranucci, Patrick Henry, Marie Besnard… And these major cases have even reached the territory of programs. The title of a series that has remained famous, is revealing of this work of truth from the inner self.