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.

• 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 ChairChapter 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, 1963Chapter 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

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.

• 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 ChairChapter 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, 1963Chapter 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

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.

• 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 ChairChapter 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, 1963Chapter 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