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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 gambling data myanmar justice 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 ."