Therefore at this conceptual time, truth was linked to the ideology of the filmmaker. This means guaranteed the history the documentary embodied in understanding contemporary culture and politics thus effectively representing society at that point in time. The Thin Blue Line used the ideology of the filmmaker as a forefront of truth. .
The film utilised many stylistic and dynamic elements which was unlike conventional documentary approach. The authoritative style of the director enabled the audience to subconsciously identify themselves with an assigned identity that appeared "natural". Most of the stylistic devices that were used sought to confirm the reality of the situation, as well as strengthen Morris" stand. For instance, Morris uses old family photographs to emphasise Harris" troubled childhood, which affected the viewer's impressions of Harris. Morris also used old headlines from newspapers dating back to when the court case was heard, again, as a subtle element of persuasion. For instance, he used the newspaper snippet of the witness getting charged for drunk and disorderly behaviour, to impact the viewer's opinion of them, and to comment on the credibility of the prosecutor's defence. The music was an original score, produced by Philip Glass which was specific to enhancing the mood. He also made use of interviews of people involved with the case which showed both sides of the story at the same time editing the interviews according to how he wanted the structure of the film to flow. Re-enactments were another popular means in which Morris used to determine who was actually the cop killer. By using these rhetorical devices, Morris enabled his truth to be told, without necessarily having to conform to a classical style of documentary. His film also enabled a broader acceptance of what a documentary should constitute, by using narrative and fictive elements such as music, stylistic elements, editing, and even re-enactments.
