ABSTRACT
The chapter begins by summarizing Böttcher's films between 1963 and 1984, which include an observational documentary with a reflexive-mode opening, Der Sekretär (The Secretary), and an experimental paint and film tryptic, indicative of a career that exhibits a range of styles and experiments. The career of Frederick Wiseman is summarized. Then the work of Böttcher in the film Rangieren (Shunters) and Wiseman's Racetrack is contrasted in regards to institutions and workplace in observational documentary films in 1984. Both are black and white holdouts, and completely observational, and not participatory, as most films of that year were. But the style of the two filmmakers differ in tone: Wiseman is sarcastic and Böttcher is earnest, wanting to show the beauty and hope in the everyday. The role that censorship and funding have on filmmaking is discussed, as is Wiseman's consistency throughout his career, while Böttcher's is defined by constant change.
