JÃ rgen BÃ ttcher and Documentary Film introduces the reader to this east-German filmmaker who, despite having made 40 films from the east side of the Berlin Wall, is practically unknown.
JÃ rgen BÃ ttcher and Documentary Film introduces the reader to this east-German filmmaker who, despite having made 40 films from the east side of the Berlin Wall, is practically unknown.
Elizabeth Daggett Matar is Assistant Professor in the College of Mass Media and Communication at American University in the Emirates, teaching media production, and adjunct professor at Middlesex University, Dubai teaching immersive storytelling. In 2011, Matar was named an "expert" in documentary film by the U.S. State Department's Bureau of Cultural Affairs' Documentary Showcase Program. She completed this work as part of a Doctorate in Media and Communication at Universität Hamburg.
Inhaltsangabe
Chapter 1: Introduction Chapter 2: The Biography of Jürgen Böttcher, Filmmaker, and STRAWALDE, Artist Chapter 3: Dramaturgy and Structure in Observational Documentary in 1962 - Jürgen Böttcher's Ofenbauer (Furnace Builders) and Robert Drew and Richard Leacock's The Chair Chapter 4: The Representation of Women in Observational Cinema - Richard Leacock and Joyce Chopra's Happy Mother's Day (Director's Cut) and Jürgen Böttcher's Stars, 1963 Chapter 5: Jürgen Böttcher and Frederick Wiseman - Institutions and Workplace in Observational Documentary Films in 1984 Chapter 6: Jürgen Böttcher and Barbara Kopple and Reform in Participatory/Reflexive Documentary in 1990 Chapter 7: Conclusion - Documentary Contrasts in Structure, Subject, Place, and Change in Group Identity, and an Expanded Definition of Documentary Modes
Chapter 1: Introduction
Chapter 2: The Biography of Jürgen Böttcher, Filmmaker, and STRAWALDE, Artist
Chapter 3: Dramaturgy and Structure in Observational Documentary in 1962 - Jürgen Böttcher's Ofenbauer (Furnace Builders) and Robert Drew and Richard Leacock's The Chair
Chapter 4: The Representation of Women in Observational Cinema - Richard Leacock and Joyce Chopra's Happy Mother's Day (Director's Cut) and Jürgen Böttcher's Stars, 1963
Chapter 5: Jürgen Böttcher and Frederick Wiseman - Institutions and Workplace in Observational Documentary Films in 1984
Chapter 6: Jürgen Böttcher and Barbara Kopple and Reform in Participatory/Reflexive Documentary in 1990
Chapter 7: Conclusion - Documentary Contrasts in Structure, Subject, Place, and Change in Group Identity, and an Expanded Definition of Documentary Modes
Chapter 1: Introduction Chapter 2: The Biography of Jürgen Böttcher, Filmmaker, and STRAWALDE, Artist Chapter 3: Dramaturgy and Structure in Observational Documentary in 1962 - Jürgen Böttcher's Ofenbauer (Furnace Builders) and Robert Drew and Richard Leacock's The Chair Chapter 4: The Representation of Women in Observational Cinema - Richard Leacock and Joyce Chopra's Happy Mother's Day (Director's Cut) and Jürgen Böttcher's Stars, 1963 Chapter 5: Jürgen Böttcher and Frederick Wiseman - Institutions and Workplace in Observational Documentary Films in 1984 Chapter 6: Jürgen Böttcher and Barbara Kopple and Reform in Participatory/Reflexive Documentary in 1990 Chapter 7: Conclusion - Documentary Contrasts in Structure, Subject, Place, and Change in Group Identity, and an Expanded Definition of Documentary Modes
Chapter 1: Introduction
Chapter 2: The Biography of Jürgen Böttcher, Filmmaker, and STRAWALDE, Artist
Chapter 3: Dramaturgy and Structure in Observational Documentary in 1962 - Jürgen Böttcher's Ofenbauer (Furnace Builders) and Robert Drew and Richard Leacock's The Chair
Chapter 4: The Representation of Women in Observational Cinema - Richard Leacock and Joyce Chopra's Happy Mother's Day (Director's Cut) and Jürgen Böttcher's Stars, 1963
Chapter 5: Jürgen Böttcher and Frederick Wiseman - Institutions and Workplace in Observational Documentary Films in 1984
Chapter 6: Jürgen Böttcher and Barbara Kopple and Reform in Participatory/Reflexive Documentary in 1990
Chapter 7: Conclusion - Documentary Contrasts in Structure, Subject, Place, and Change in Group Identity, and an Expanded Definition of Documentary Modes
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