Elizabeth Barret's Stranger With A Camera (2000) shows the noxious effects of condescending outsiders documenting "the poor." Barret does not try to explain away the cold-blooded murder, in 1967, of a filmmaker visiting Kentucky's coal country. But she cogently establishes the wrongheaded history of media misrepresentation of Appalachia. Mason Eldridge, an eyewitness to the murder, represents the passage of time (top and middle stills). Calvin Trillin (bottom) reads from his New Yorker article.
