Mein wunderbares West-Berlin (German title)
A documentary by Jochen Hick
Editor Thomas Keller
Research/Assistant Andreas Strohfeldt
Historic Advisor Karl-Heinz Steinle
Distribution in Germany Edition Salzgeber
In theatres in Germany from 29 June 2017 (many screenings with Engl. subtitles) Click for theatres and dates
Playing now on film festivals around the world. With English subtitles. Subtitled versions in French, Spanish, Portuguese, Russian, Chinese and eventually Arabic soon available.
GALERIA ALASKA PRODUCTIONS
Filmförderung Hamburg Schleswig-Holstein,
MFG Filmförderung Baden-Württemberg und
Today's hip image of Berlin is based on the city’s vibrant and subversive subcultures, which originally emerged within the grey walls surrounding West Berlin. The queer scene played a major role in creating that subculture, with its sexual diversity and its wild and unconstrained party culture, ranging from notorious clubs to CSD. Many of the scene’s actors, such as the Gay Museum, the Teddy Award, AIDS help organizations, and the queer magazine Siegessäule originated before 1989.
Yet gays in West Berlin suffered greatly under an incongruous provision in German law – the infamous
Paragraph 175 – that made homosexual acts between men a crime up until its reform in 1969. Raids and arrests in bars were common, yet ultimately failed in suppressing gay life in West Berlin. Instead, the city turned into a gay capital. The late seventies in particular were a period of great sexual and political freedoms and more intense social intermingling between the gay-, hetero-, and transsexual worlds. Then AIDS struck, wrecking greater havoc in Berlin than in any other German city.
After OUT IN EAST BERLIN (2013)*, MY WONDERFUL WEST BERLIN describes gay life in the western half of the city in the dynamic period between the end of WWII and the fall of the Berlin Wall, all the while referencing current social issues. The stories and experiences of political activists, party-goers, hedonists, club owners, musicians, fashion designers, a DJ, and a make-up artist paint a vivid picture of the gay scene in that period. The use of never before seen archival film footage completes the picture by allowing viewers to travel through time to a hitherto unknown WestBerlin.
MY WONDERFUL WEST BERLIN explores the historic roots of the fascinating city, that is a dream destination and a place of refuge for gay men form across the world to this day. The film is the second part of filmmaker Jochen Hick’s Berlin trilogy, the final part of which will focus on the period after the fall of the Wall, up until today.
* co-dir. A. Strohfeldt
After the end of the Nazi era and the Second World War, Germany lay in ruins. The social structures were equally broken, with the liberal advances and achievements of the Weimar Republic long buried. The historic endeavors of the scientific and humanitarian committees of Markus Hischfeld and other organizations to rid the country of the notoriously discriminatory paragraph § 175 in German law had long been forgotten. Shortly after Hitler's rise to power in 1933, the Nazis closed down most gay venues and in 1935, tightened laws criminalizing gays. Before this time
intercourse-like activities between men were already prosecutable, yet now even the more ambiguous notion of
lusty arousal between men became a criminal offense. The Nazis also introduced paragraph § 175a, which sent men to prison for up to 10 years in the case of a
severe sexual offense (such as sex with a minor or prostitution). The pink triangle that homosexuals were forced to wear in the concentration camps became a symbol for the immeasurable suffering, stigma, and State-run terror that gays and lesbians were subjected to.
After the war, the Federal German lawmakers carried over paragraph § 175 unaltered, just as the Nazis had written it in its 1935 version.* This was justified by the contention that the tightening of the law by the Nazis was not based on Nazi concepts. A parliamentary document from 1962 reads:
Where same-sex fornication abounds, the degeneration and moral decline of the populace follows. Within this legal framework, denunciation, raids, and summons were part of daily life for many homosexuals in West Germany. More than 50,000 men were convicted and served prison sentences under the provision of § 175 up until the 1960's. The efforts of some individuals to overturn the law through the dissemination of information and petitions to parliament, failed.
Gay West Berliners who grew up in the 50's and 60's knew that society not only disdained and condemned their sexual orientation, but also considered it criminal. However
this was not something one talked about, as Klaus Schumann, who grew up in Schöneberg's
red triangle district, states. Behind his back, Klaus was called a
doll boy. At the time, he didn't know what it meant, but understood that it was not a good thing when he witnessed his parents throw a fit about the reference.
Meanwhile a gay subculture was beginning to flourish in Berlin, hidden away behind closed doors and ambiguous doorbell nameplates. Berlin and Hannover were the only cities in West Germany, where dancing between men was not prohibited. Dozens of gay bars actively reinforced Berlin's reputation as the most libertine and permissive city in the country, among them the Kleist Casino. René Koch, who worked there as a bartender, describes the extravagant interior as
ritzy, lavish, classy, and with chandeliers – it was all poofy baroque.
One of the most prominent venues was the Eldorado, where drag artists like Marcel André performed. West Berlin abounded with public restrooms and parks that were well-known meeting places for gay sex. This licentiousness attracted young gays from across the country to West Berlin – students, draft dodgers, and hedonists of all colors.
While the US was engaged in the Vietnam war during the late 60's, left-wing student movements were gaining ground throughout the Western world; and with them, the desire for more sexual freedom. On New York's Christopher Street in 1969, gays, lesbians, and transsexuals publicly took a stand against police discrimination for the first time. In the same year, West Germany overturned § 175 during a reform of the penal code. Four years later, a further amendment decreased the age of consent from 21 to 18 years. A Spiegel magazine cover from the time reads:
Homosexuals: freed, but still ostracized.
During the Berlin film festival of 1971, Rosa von Praunheim's film
It Is Not the Homosexual Who Is Perverse, But the Society in Which He Lives (co-author: Martin Dannecker) stirred up immense controversy and division in the gay world. While some homosexuals vehemently rejected the film as defamatory, others euphorically hailed it. The film's message was:
Get out of the public toilets and into the streets! Screenings of the film resulted in the formation of gay action groups in many German cities.
In Berlin, the group Homosexual Action West Berlin (HAW) was created.
We wanted a gay revolution to overcome capitalism side by side with the working class and to free gays, explains Wolfgang Theis, who was part of the group from its start. The HAW took part in leftist demonstrations, collected signatures for a reversal of § 175, and mobilized against occupational bans targeting gay teachers. For many of its members, the HAW became like a family. Some even went a step further and began living together in gay communes. The most important campaigns of the highly politicized group were filmed by the openly gay teacher Wilfried Laule with his Super-8 camera.
Since most of the HAW members were students, their political point of views were as colorful and diverse as the left wing of that decade was. In the early days, they created a close alliance with equally political and combative lesbians. Yet the women soon dissociated themselves from the domineering gays. Heated discussions arose in the gay community about what gays should be like. Should gays act like
real guys or rather be provocatively poofy? The painter and artist Salomé remembers:
We created a Yet this type of provocation was quite dangerous.
drag faction. We would meet at the HAW and decide to do an action in the metro on the weekend. We'd tell everyone to come as dolled up as possible in order to be more visible.
I can remember a few situations when we had to jump out of the metro in order to avoid getting beaten up.
Activists from the HAW left their marks on society, some of which are still at work today. Gerhard Hoffmann was the creator of the magazine Die Schwuchtel (literally: The Pansy) and also started the gay café Anderes Ufer on a main street in Schöneberg in 1977.
We opened the first homosexual bar that raised the blinds and allowed passers-by to look in, Hoffmann remembers.
It was modern, avantgarde, and open to everybody, with lots of art and events. David Bowie, who lived two houses down the street, was a regular. The publishing house Pink Triangle, created in 1975 and headed by Egmont Fassbinder for over 20 years, published both fiction and non-fiction books on gay topics. Peter Hedenström and some friends opened the gay bookstore Prinz Eisenherz, which still exists today. In the mid 80's, Berlin's Schwulen Museum* (gay museum) was also founded by HAW members and co-founder Wolfgang Theis still works there today. The HAW also brought forth the gay center SchwuZ, which has also remained a trendy gay club and meeting place to this day.
The gay subculture that director Rosa von Praunheim had critically mirrored in his 1971 film continued to thrive throughout the 70's, with the annual drag ball being the most important event of the year for the bourgeois gay world. In 1974, the 26-year old transsexual drag artist Romy Haag opened the legendary club Chez Romy Haag.
In the old West, there were no hierarchies or social classes. Everyone had to get along with everyone else, is how she describes the atmosphere that predominated in her club and the area. In the mid 70's, the gay leathermen scene opened Die Knolle, the first venue in Berlin with a darkroom. Berlin's gay scene was beginning to diversify.
In the late 70's, Wolfgang Müller, founder of the punk band
Die Tödliche Doris, came to Berlin and took part in the first CSD rally in 1979.
West Berlin looked totally trashy and shoddy at the time. There were still all sorts of old former Nazis running around, who's views didn't fit into the culture of the West or the East, nor any other part of society. Partly due to the emergence of the SO36 club and the Oranienbar, the district of Kreuzberg became the quintessential embodiment of alternative lifestyles and a refuge for gay punks, squatters, and avantgarde artists. The club Metropol in Schöneberg also emerged as one of the top party spots in West Berlin, with far reaching consequences, as DJ Westbam remembers:
Music as a wave of energy! That is what emerged from Berlin's gay nightlife and what paved the way for the techno revolution.
In a highrise block in northern Charlottenburg, teenagers Ades Zabel and Bob Schneider shot their first film, which is still considered a cult film in the trash genre:
Edith Schröder. A German housewife. Bob Schneider describes the main characters of the film, Edith and Jutta, as:
the absolute opposite of what Kreuzberg embodied. The opposite of house squats, rallies, and the left scene. They were a kind of a symbol for the square, middle-class narrow-mindedness of the other West Berlin.
The most important gay Berlin film of this era is
Taxi zum Klo (1980). Director, writer, and lead actor Frank Ripploh (1949-2002) was a school teacher in real life.
It was a really freeing film because for the first time, the pain and suffering of being gay was just left out. Instead, anarchical pleasures and self-destructive behavior featured center stage, remarks Wieland Speck, filmmaker and head of the Panorama section of the Berlin film festival since 25 years.
Ripploh's film mirrored a new sexual freedom that was flourishing - unfettered by convention and partly fuelled by drugs - in Berlin's public toilets and throughout the increasingly self-confident gay scene. A freedom that was would be scrutinized and challenged anew with the arrival of HIV/AIDS in the mid 80's.
The whole AIDS thing was like some sort of background noise for us at first. I ignored it, like many others, explains the journalist and author Dirk Ludigs. Then came the first HIV tests and
every third person tested positive.
The German AIDS-Help organization and its Berlin subsidiary were founded in 1983 and 1985, respectively. Prominent celebrities campaigned for better information and support for the victims of the disease – and against the demands of the center-rightwing CSU party to implement compulsory testing and the internment of HIV-infected people. In the late 80's, German activists addressed the public with media-savvy political campaigns, mimicking their American role model ACT UP (AIDS Coalition to Unleash Power), created in 1987. One of the most spectacular campaigns took place during the final prayers of the Catholic Episcopal Conference in 1991. Berlin-based ACT-UP members disrupted the prayers to protest against the catholic church's prohibition of condoms and its stance on homosexuality and AIDS.
Many artists, including photographer Jürgen Baldiga (1959-1993), who grappled with the progression of his own disease on camera, were actively engaged in the struggle to shake up and galvanize society about AIDS. The AIDS crisis was a tragedy of momentous proportions that led to a greater visibility of homosexuality in society.
To my surprise, AIDS actually gave us an opportunity to bring the topic of homosexuality to the center of society. Everyone knew someone who had died from AIDS. Many parents suddenly lost their sons. Celebrities were outed through the disease, explains Gerhard Hoffmann, who lost his partner to AIDS.
Gay film buff Manfred Salzgeber (1943-1994) also wanted to reach the general public. In 1985 he founded the distribution company Edition Manfred Salzgeber to give films about AIDS a platform. He also founded the Panorma section of the Berlin film festival one year later, and created the gay-lesbian Teddy award with Wieland Speck in 1987.
The Berlin Wall fell in the midst of the AIDS crisis and with the sudden reunification of Germany also came the end of the unique sociocultural biotope of West Berlin. Berlin's lesbian and gay movements were suddenly faced with new challenges and possibilities. But that is the topic for a different film.
To this day, none of the victims who were sentenced under the Federal German Republic's § 175 have been exonerated or indemnified.
* Unlike West Germany, in the penal code of the GDR, paragraph § 175 was adopted in its original Weimar Republic version. It was mitigated in 1957, then replaced by paragraph §151 in 1968, and finally omitted entirely in 1988.
** Until the mid 60's, when arrests were made during raids, suspects were taken to the police headquarters in Gothaer Strasse in Berlin's Schöneberg precinct and registered. In the case of minors, the parents were called to pick up their sons.
Klaus Schumann, born 1937 in Berlin Schöneberg. After being a tailor's apprentice, he moved to Switzerland between 1957 and 1961. Jobs with distinguished fashion designers from West Berlin followed. He received his master craftsman certificate in 1975 and opened his own studio. Schumann outed himself publicly alongside more than 600 other gay men from West Berlin through a 1978 cover story by German news magazine Stern, titled
We are gay. The publication caused a breach with his family. Schumann lost his long-time boyfriend to AIDS. At over 80, he still works in his studio in Berlin Wilmersdorf as a couturier for ladies fashion.
René Koch, born 1945 in Heidelberg. René came to Berlin at age 18 and worked as a dishwasher, bartender, transvestite performer, and co-owner of a food store. He began his formation as a make-up artist in 1969 and became the chief make-up artist for Charles of the Ritz in New York in 1971. He returned to Berlin in 1990 and made a name for himself as one of the city's most sought after make-up artists. Koch became actively engaged in AIDS support organizations and launched the working group
Camouflage in 1996 to support people with skin anomalies. He also established a lipstick museum in his home in Berlin Wilmersdorf and published an autobiography titled Abgeschminkt in 2016. René continues to maintain a decades-long friendship with star hairdresser Udo Walz.
Wolfgang Winkler, born 1936 in Berlin Mahlsdorf (former East Berlin). He had a affair with a West Berliner in the late 50's, but the construction of the Berlin Wall put an abrupt end to the relationship. Winkler studied economics and became a scientific librarian. He led the Theater Arts library, which he helped create, in the artist club
Möwe between 1966 and 1991.
Wolfgang Theis, born 1948 in Gärtringen, in Southern Germany. He trained as a cook, then completed his military service with the German Navy. He lives in Berlin since the late '60s – much of that time in a shared flat – and is a co-founder of the HAW (Homosexual Action Group). Wolfgang then launched his career as a film critic, and in 1984, he helped create the exhibition
Eldorado – History, daily life and culture of homosexual women and men in Berlin 1850–1950 in the Berlin Museum. A year later, he co-founded the association
Friends of the Gay Museum in Berlin and was awarded a Federal Cross of Merit in 2011 for his work for the Gay Museum. He still curates dozens of exhibitions at the museum.
Rosa von Praunheim, born 1942 in Riga, Latvia. He grew up in Teltow-Seehof and later on, in the district of Praunheim in Frankfurt am Main. Rosa moved to Berlin in 1962. The name
Rosa is a reference to the pink triangle that identified gay prisoners in Nazi concentration camps. His film It is not the homosexual who is perverse, but the society in which he lives is considered a beacon of the gay rights movement of the 70's. His AIDS films from the late 80's and early 90's were a catalyst for the German AIDS movement.
Detlef Mücke, born 1944. He grew up in Hannover, studied in Göttingen, and has been living and working as a teacher in Berlin since 1971. Detlev is a co-founder of the teacher's group in the HAW. As an activist, he worked to end occupational bans for gay teachers and homosexual discrimination in the school syllabus. He came-out publicly in front of his students in 1978 and was one of the initiators of the working group of homosexual teachers and educators in the Education and Science union.
Wilfried Laule, born 1945 in Eigeltingen near Konstanz am Bodensee. He studied fine arts in Stuttgart and then Berlin, where he lives since 1970. As a founding member of the HAW, he filmed many of the group's actions and campaigns with his Super-8 camera. Wilfried taught art in several schools in Berlin and still works as a painter and photographer. His work has been published in magazines and books, and has been shown in a number of exhibitions, including two solo shows in Berlin's Gay Museum.
Egmont Fassbinder, born 1945 in Kippenheim. He lives in Berlin since 1965, where he moved at the end of high school in order to avoid doing his military service. Egmont studied social sciences in Heidelberg and at
Freie Universität in Berlin. He was a member of the student parliament in the German Socialist Student Alliance (SDS) and is a co-founder and active member of the HAW. Since 1978, he heads the publishing company Verlag rosa Winkel, which publishes fiction and non-fiction books on gay related topics.
Gerhard Hoffmann, born 1946. He studied political science in Munich and moved to Berlin in 1973 with his boyfriend Reinhard von der Marwitz. Both of them continued their studies at the Freie Universität. They were active in the HAW and co-founded the magazine Schwuchtel (1975), then the café
Anderes Ufer (1977), and finally the publishing house
Albino Verlag (1981). In 2016, he received the Federal Cross of Merit for his many years of activism in the gay rights movement.
Peter Hedenström, born 1948 in Lübeck. After high school, he studied German literature in Göttingen, and beginning in 1969, in Berlin. He was one of the founding members of HAW, as well as co-founder of the publishing house
Verlag rosa Winkel (1975) and of the gay bookstore
Prinz Eisenherz (1978), where he worked until 2003. In the mid 80's, the Prinz Eisenherz bookstore was one of Berlin's most important centers on AIDS information.
Wieland Speck, born 1951 in Freiburg im Breisgau. He lives in Berlin since 1972, where he studied German literature, Drama, and cultural anthropology at the
Freie Universität. He has been living in a men's commune ever since and only moved out in 2016. He first began making films in the 70's and directed Westler, a gay East-West love story, for the television channel ZDF in 1985. Alongside Manfred Salzgeber, he founded the lesbian-gay
Teddy film prize in 1987, which is awarded every year at the Berlin film festival. Since 1992, he is the head programmer of the Panorama section of the Berlin Film festival.
Romy Haag, born in the Netherlands. After stints in Paris and New York, she moved to Berlin and opened the nightclub Chez Romy Haag in 1974, where she performed as a drag artist. The club was extremely popular up until 1983, when it closed its doors. Romy also acted in films, had her own TV show, and released several albums as a singer. To this day, she is considered one of the most versatile queer artists in Germany. She has been a member of the board of trustees of the Berlin AIDS support organization since the late 80's.
Salomé, born 1954 in Karlsruhe. He came to Berlin in 1973 and was part of the drag faction of the HAW while he studied at the
Universität der Künste. As an artist, he was considered part of the
Neue Wilde movement of young painters from Germany and Austria. His big international break arrived in 1982, when his work was shown at the documenta 7 in Kassel. From 1983, he lived and worked as a painter and performance artist in New York, and returned to Berlin Kreuzberg in 1998.
Wolfgang Müller, born 1957 in Wolfsburg. He had his coming-out in his home town and created the city's first gay group. In 1979 he participated in West Berlin's first Gay Pride march. Between 1980 and 1985, Wolfgang studied at Berlin's Hochschule der Künste and created an experimental band
Die tödliche Doris with Nikolaus Utermöhlen. His book, Geniale Dilletanten, was published by Merve-Verlag in 1982. It became a manifesto of the young music and cultural scene of Berlin at the time. Since 1990, Wolfgang lives between Reykjavík and Berlin.
Ades Zabel, born 1963 in Berlin Haselhorst. He grew up in Charlottenburg's Paul-Hertz neighborhood in West Berlin. Ades completed an apprenticeship in the men's wear department of the famous KaDeWe department store. A big fan of Super-8 movies, he shot his first film with friends in the early 80's, titled Edith Schröder. A German housewife, which became a cult hit. He made his living as a projectionist at the Moviemento cinema in Kreuzberg. Between 1987 and 1992, he created and acted (as Edith) alongside Bob Schneider (who played Jutta) in the film trilogy Drei Drachen vom Grill, a parody of the TV trilogy Drei Damen vom Grill. Ades Zabel and Bob Schneider still perform together in the same roles.
Bob Schneider, grew up in the same building as Ades Zabel. They first met on a bus on the way home from the nightclub Dschungel on Adenauerplatz and have been working together ever since. Like Ades, Bob also worked as projectionist at the Moviemento cinema. In the 90's, he studied editing at the film school in Potsdam Babelsberg. In the role of
Jutta, he performs as a tourist tour guide of Berlin on a comedy bus and comedy boat. He is also the creator of a variety of theatrical performances.
DJ Westbam, born 1965 in Münster, was a major fan of punk music as a teenager. He moved to Berlin in 1983 and began his career as a DJ in the Metropol nightclub. In 1984 he published the text What is record art, in which he describes the DJ as a musician who composes entirely new pieces from existing albums. As a producer, Westbam is considered one of the pioneers of techno music. His name is short for Westfalia Bambaataa, a reference to the famous New York hip hop DJ Afrika Bambaataa.
Dirk Ludigs, born 1965, grew up in the Saarland region and founded a lesbian-gay youth group in his home town in 1983. After graduating from high school, he came to Berlin and developed his own performance program in the
SchwuZ nightclub in 1985. In 1987 he began working as a freelance journalist for the alternative radio station 100. He currently lives in the US.
Patsy l'Amour laLove, refers to herself as a professional drag queen. She studied at
Humboldt Universität in Berlin and wrote her dissertation about the gay movement of the 70's. She calls the leading gay activists of the time her
mothers and sisters. Patsy organizes scientific and cultural events like the
Polymorphia party in
SchwuZ club and is active on the advisory board of Berlin's Gay Museum. In 2016, her book Self-hate & emancipation was published by Querverlag.
Jochen Hick, born 1960 in Darmstadt. He grew up in the Taunus region, in Munich, and in Stuttgart. From 1981–87, Jochen studied film in Bologna, Italy, and at Hamburg's
Hochschule für Bildende Künste, with professors like Helke Sander. Since graduation, he has worked as a film director, author, journalist and producer for film and television, with a special focus on socio-cultural and LGBT topics. In 1994 he created his own production company,
Galeria Alaska Productions, with which he has produced a multitude of reports and documentaries for television stations ARD, ZDF/ARTE, 3sat, and Spiegel TV. Between 2007 and 2010, Jochen was the deputy program director and editor-in chief at TIMM, the first TV channel for gay men in the German-speaking world. Hick's films were presented at more than 300 international film festivals and received a number of awards, including the advancement award by German Film Critics (1987) and the Teddy award for best documentary (2003).
|1984||Mond über Pittsburg (short)|
|1987||Gerd Hansen, 55 (short)|
|1990||Via Appia (feature film)|
|1991||Teufel im Paradies (documentary)|
|1992||Willkommen im Dom (short documentary)|
|1995||Menmaniacs – The Legacy of Leather (documentary)|
|1998||Sex/Life in L.A. (documentary)|
|2000||No One Sleeps (feature film)|
|2003||Ich kenn keinen – Allein unter Heteros (documentary)|
|2005||Cycles of Porn – Sex/Life in L.A. 2 (documentary)
Am Ende des Regenbogens (tv documentary)
|2007||Deutschland – Ein Herbstmärchen (short)|
|2008||East/West – Sex & Politics (documentary)|
|2009||The Good American (documentary)|
|2013||Out in Ost-Berlin – Lesben und Schwule in der DDR (documentary)|
|2016||Der Ost-Komplex (documentary)|
|2017||Mein wunderbares West-Berlin (documentary)|
Patsy L‘Amour laLove
Rosa von Praunheim
Bob, Biggy van Blond, Mabel Aschenneller, Gaby Böldt, Hans-Dieter Eickmeyer, Manuela Kay, Thomas Katt, Dilek Kolat, Mahide Lein, Melina M, Angela Parker, Patachou, Renata Ravell, Marianne Rosenberg, Marco Schacht, Walter Schörling, Christiane Steiner
Alexander Gheorghiu & Jochen Hick
Andreas Strohfeldt, Gilles Lasnet,
Bernard Homann, Daniel Sander
Jörg Polzer, Mischa Pfisterer
Andreas Strohfeldt, Karl-Heinz Steinle,
Linda Förster, Friedrich Rother
Jörg Theil & André Zacher
Michael Kaczmarek – K13
Hermann Hick & Ursula Scheid
Monkey say, Monkey do
Claude Debussy, Edvard Grieg, Wolfgang Amadeus Mozart, Richard Wagner
David Harrow, Kevin McLeod
Schwules Museum* Berlin
Wolfgang Cortjaens & Kristine Schmidt
Deutsche Oper Berlin
Stefan Bock & Kirsten Heymeyer, Dorothea Katzer
Schwules Museum*, Fernseharchiv des RBB, BStU, Spinnboden-Archiv,
Landesarchiv Berlin, Polizeiarchiv Berlin, Archive der Berliner Bezirke
BStU: Oliver Strübing, Dagmar Hovestädt, Friedrich Rother
& Rüdiger Droysen von Hamilton
Horst Blohm, Eberhard Brucks, Egmont Fassbinder, Peter Hedenström,
Gerhard Hoffmann, Detlef Mücke, Wolfgang Müller, Bob Schneider,
Wieland Speck, Wolfgang Theis, Wolfgang Winkler, Horst Wachholz, Ades Zabel
Johannes Aevermann, Jürgen Baldiga, Berliner Aids-Hilfe, BStU, Deutsche AIDS-Hilfe,
Martin Eberle, Rolf H. Fischer, Gerhard Faulhaber, Tina Hegewisch, Elfi Mikesch,
Jearld Moldenhauer, Cristina Perincioli, Werner Müller, Aron Neubert,
Polizeihistorische Sammlung Berlin, Rosa von Praunheim Filmproduktion, Barbara Schier,
Prinz Eisenherz Buchladen, Schwules Museum*, SchwuZ Archiv,
Wieland Speck Filmproduktion, Karl-Heinz Steinle, Gregor Stix, Detlef Stoffel,
Ingo Taubhorn, Teufelsberger Produktion, Rüdiger Trautsch, Inge Werth,
Regina Ziegler Filmproduktion
Heiner Beisswenger, Carl Bergengruen, Dagmar Boek-Siebenhaar, Michael Brynntrup, Martin Dannecker, Jens Dobler, Klaus Dufke, Hans-Dieter Eickmeyer, Claudia Fierke, Bernd Gaiser, Harald Glööckler, Bruno Gmünder, Ogar Grafe, Carsten Grunwald, Tony B. Heric, Eva Hubert, Hans Hütt, Elmar Kraushaar, Jürgen Laarmann, Lothar Lambert, Carsten Mach-Bleyl, Dorothee Martin, Katrin Mersmann, Kirsten Niehuus, Michael Ostwald, Peter Rehberg, Reiner Rosner, Daniel Saltzwedel, Ric Schachtebek, Brigitte Schlögel, Axel Schock, Dieter Rita Scholl, Heidi Springfeld, Michael Stock, BeV StroganoV, Carsten Thamm-Walz, Stefan M. Weber, Lars Vestergaard von Laustsen, Gloria Viagra, Karin Wallenczus, Bob Young, Monika Zabel, Kai Zander, Zazie de Paris, Oliver Zeller
Berliner Aids-Hilfe, Berliner Verkehrsgesellschaft, Gay Wiesn, Café Grosz, Café Impala,
CSD Berlin e.V. / Pride Berlin, Deutsche Bahn AG / PR & Int. Kommunikation
Dyke March Berlin, Folsom Europe, Friseur Araz Cut, Hotel de Rome, HustlaBall Berlin
Kleine Philharmonie, Lesbisch-Schwules Stadtfest, Lippenstiftmuseum
Möbel Olfe, More Restaurant, Paris Bar, Polymorphia Show, Prinzknecht Bar, Scheune Bar, SchwuZ
Südblock, Wohnzimmer Bar, Wintergarten Varieté, Vagabund
Schwules Museum*, Berlin
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Galeria Alaska Productions
P.O. Box 201620
D-20206 Hamburg / Germany
We are very delighted that you have shown interest in our enterprise. Data protection is of a particularly high priority for the management of the GALERIA ALASKA PRODUCTIONS / Jochen Hick. The use of the Internet pages of the GALERIA ALASKA PRODUCTIONS / Jochen Hick is possible without any indication of personal data; however, if a data subject wants to use special enterprise services via our website, processing of personal data could become necessary. If the processing of personal data is necessary and there is no statutory basis for such processing, we generally obtain consent from the data subject.
The processing of personal data, such as the name, address, e-mail address, or telephone number of a data subject shall always be in line with the General Data Protection Regulation (GDPR), and in accordance with the country-specific data protection regulations applicable to the GALERIA ALASKA PRODUCTIONS / Jochen Hick. By means of this data protection declaration, our enterprise would like to inform the general public of the nature, scope, and purpose of the personal data we collect, use and process. Furthermore, data subjects are informed, by means of this data protection declaration, of the rights to which they are entitled.
As the controller, the GALERIA ALASKA PRODUCTIONS / Jochen Hick has implemented numerous technical and organizational measures to ensure the most complete protection of personal data processed through this website. However, Internet-based data transmissions may in principle have security gaps, so absolute protection may not be guaranteed. For this reason, every data subject is free to transfer personal data to us via alternative means, e.g. by telephone.
The data protection declaration of the GALERIA ALASKA PRODUCTIONS / Jochen Hick is based on the terms used by the European legislator for the adoption of the General Data Protection Regulation (GDPR). Our data protection declaration should be legible and understandable for the general public, as well as our customers and business partners. To ensure this, we would like to first explain the terminology used.
In this data protection declaration, we use, inter alia, the following terms:
Personal data means any information relating to an identified or identifiable natural person (“data subject”). An identifiable natural person is one who can be identified, directly or indirectly, in particular by reference to an identifier such as a name, an identification number, location data, an online identifier or to one or more factors specific to the physical, physiological, genetic, mental, economic, cultural or social identity of that natural person.
Data subject is any identified or identifiable natural person, whose personal data is processed by the controller responsible for the processing.
Processing is any operation or set of operations which is performed on personal data or on sets of personal data, whether or not by automated means, such as collection, recording, organisation, structuring, storage, adaptation or alteration, retrieval, consultation, use, disclosure by transmission, dissemination or otherwise making available, alignment or combination, restriction, erasure or destruction.
Restriction of processing is the marking of stored personal data with the aim of limiting their processing in the future.
Profiling means any form of automated processing of personal data consisting of the use of personal data to evaluate certain personal aspects relating to a natural person, in particular to analyse or predict aspects concerning that natural person's performance at work, economic situation, health, personal preferences, interests, reliability, behaviour, location or movements.
Pseudonymisation is the processing of personal data in such a manner that the personal data can no longer be attributed to a specific data subject without the use of additional information, provided that such additional information is kept separately and is subject to technical and organisational measures to ensure that the personal data are not attributed to an identified or identifiable natural person.
Controller or controller responsible for the processing is the natural or legal person, public authority, agency or other body which, alone or jointly with others, determines the purposes and means of the processing of personal data; where the purposes and means of such processing are determined by Union or Member State law, the controller or the specific criteria for its nomination may be provided for by Union or Member State law.
Processor is a natural or legal person, public authority, agency or other body which processes personal data on behalf of the controller.
Recipient is a natural or legal person, public authority, agency or another body, to which the personal data are disclosed, whether a third party or not. However, public authorities which may receive personal data in the framework of a particular inquiry in accordance with Union or Member State law shall not be regarded as recipients; the processing of those data by those public authorities shall be in compliance with the applicable data protection rules according to the purposes of the processing.
Third party is a natural or legal person, public authority, agency or body other than the data subject, controller, processor and persons who, under the direct authority of the controller or processor, are authorised to process personal data.
Consent of the data subject is any freely given, specific, informed and unambiguous indication of the data subject's wishes by which he or she, by a statement or by a clear affirmative action, signifies agreement to the processing of personal data relating to him or her.
Controller for the purposes of the General Data Protection Regulation (GDPR), other data protection laws applicable in Member states of the European Union and other provisions related to data protection is:
GALERIA ALASKA PRODUCTIONS / Jochen Hick
The data subject may, at any time, prevent the setting of cookies through our website by means of a corresponding setting of the Internet browser used, and may thus permanently deny the setting of cookies. Furthermore, already set cookies may be deleted at any time via an Internet browser or other software programs. This is possible in all popular Internet browsers. If the data subject deactivates the setting of cookies in the Internet browser used, not all functions of our website may be entirely usable.
The website of the GALERIA ALASKA PRODUCTIONS / Jochen Hick collects a series of general data and information when a data subject or automated system calls up the website. This general data and information are stored in the server log files. Collected may be (1) the browser types and versions used, (2) the operating system used by the accessing system, (3) the website from which an accessing system reaches our website (so-called referrers), (4) the sub-websites, (5) the date and time of access to the Internet site, (6) an Internet protocol address (IP address), (7) the Internet service provider of the accessing system, and (8) any other similar data and information that may be used in the event of attacks on our information technology systems.
When using these general data and information, the GALERIA ALASKA PRODUCTIONS / Jochen Hick does not draw any conclusions about the data subject. Rather, this information is needed to (1) deliver the content of our website correctly, (2) optimize the content of our website as well as its advertisement, (3) ensure the long-term viability of our information technology systems and website technology, and (4) provide law enforcement authorities with the information necessary for criminal prosecution in case of a cyber-attack. Therefore, the GALERIA ALASKA PRODUCTIONS / Jochen Hick analyzes anonymously collected data and information statistically, with the aim of increasing the data protection and data security of our enterprise, and to ensure an optimal level of protection for the personal data we process. The anonymous data of the server log files are stored separately from all personal data provided by a data subject.
The website of the GALERIA ALASKA PRODUCTIONS / Jochen Hick contains information that enables a quick electronic contact to our enterprise, as well as direct communication with us, which also includes a general address of the so-called electronic mail (e-mail address). If a data subject contacts the controller by e-mail or via a contact form, the personal data transmitted by the data subject are automatically stored. Such personal data transmitted on a voluntary basis by a data subject to the data controller are stored for the purpose of processing or contacting the data subject. There is no transfer of this personal data to third parties.
The GALERIA ALASKA PRODUCTIONS / Jochen Hick offers users the possibility to leave individual comments on individual blog contributions on a blog, which is on the website of the controller. A blog is a web-based, publicly-accessible portal, through which one or more people called bloggers or web-bloggers may post articles or write down thoughts in so-called blogposts. Blogposts may usually be commented by third parties.
If a data subject leaves a comment on the blog published on this website, the comments made by the data subject are also stored and published, as well as information on the date of the commentary and on the user's (pseudonym) chosen by the data subject. In addition, the IP address assigned by the Internet service provider (ISP) to the data subject is also logged. This storage of the IP address takes place for security reasons, and in case the data subject violates the rights of third parties, or posts illegal content through a given comment. The storage of these personal data is, therefore, in the own interest of the data controller, so that he can exculpate in the event of an infringement. This collected personal data will not be passed to third parties, unless such a transfer is required by law or serves the aim of the defense of the data controller.
The data controller shall process and store the personal data of the data subject only for the period necessary to achieve the purpose of storage, or as far as this is granted by the European legislator or other legislators in laws or regulations to which the controller is subject to.
If the storage purpose is not applicable, or if a storage period prescribed by the European legislator or another competent legislator expires, the personal data are routinely blocked or erased in accordance with legal requirements.
Each data subject shall have the right granted by the European legislator to obtain from the controller the confirmation as to whether or not personal data concerning him or her are being processed. If a data subject wishes to avail himself of this right of confirmation, he or she may, at any time, contact any employee of the controller.
Each data subject shall have the right granted by the European legislator to obtain from the controller free information about his or her personal data stored at any time and a copy of this information. Furthermore, the European directives and regulations grant the data subject access to the following information:
Furthermore, the data subject shall have a right to obtain information as to whether personal data are transferred to a third country or to an international organisation. Where this is the case, the data subject shall have the right to be informed of the appropriate safeguards relating to the transfer.
If a data subject wishes to avail himself of this right of access, he or she may, at any time, contact any employee of the controller.
Each data subject shall have the right granted by the European legislator to obtain from the controller without undue delay the rectification of inaccurate personal data concerning him or her. Taking into account the purposes of the processing, the data subject shall have the right to have incomplete personal data completed, including by means of providing a supplementary statement.
If a data subject wishes to exercise this right to rectification, he or she may, at any time, contact any employee of the controller.
Each data subject shall have the right granted by the European legislator to obtain from the controller the erasure of personal data concerning him or her without undue delay, and the controller shall have the obligation to erase personal data without undue delay where one of the following grounds applies, as long as the processing is not necessary:
If one of the aforementioned reasons applies, and a data subject wishes to request the erasure of personal data stored by the GALERIA ALASKA PRODUCTIONS / Jochen Hick, he or she may, at any time, contact any employee of the controller. An employee of GALERIA ALASKA PRODUCTIONS / Jochen Hick shall promptly ensure that the erasure request is complied with immediately.
Where the controller has made personal data public and is obliged pursuant to Article 17(1) to erase the personal data, the controller, taking account of available technology and the cost of implementation, shall take reasonable steps, including technical measures, to inform other controllers processing the personal data that the data subject has requested erasure by such controllers of any links to, or copy or replication of, those personal data, as far as processing is not required. An employees of the GALERIA ALASKA PRODUCTIONS / Jochen Hick will arrange the necessary measures in individual cases.
Each data subject shall have the right granted by the European legislator to obtain from the controller restriction of processing where one of the following applies:
If one of the aforementioned conditions is met, and a data subject wishes to request the restriction of the processing of personal data stored by the GALERIA ALASKA PRODUCTIONS / Jochen Hick, he or she may at any time contact any employee of the controller. The employee of the GALERIA ALASKA PRODUCTIONS / Jochen Hick will arrange the restriction of the processing.
Each data subject shall have the right granted by the European legislator, to receive the personal data concerning him or her, which was provided to a controller, in a structured, commonly used and machine-readable format. He or she shall have the right to transmit those data to another controller without hindrance from the controller to which the personal data have been provided, as long as the processing is based on consent pursuant to point (a) of Article 6(1) of the GDPR or point (a) of Article 9(2) of the GDPR, or on a contract pursuant to point (b) of Article 6(1) of the GDPR, and the processing is carried out by automated means, as long as the processing is not necessary for the performance of a task carried out in the public interest or in the exercise of official authority vested in the controller.
Furthermore, in exercising his or her right to data portability pursuant to Article 20(1) of the GDPR, the data subject shall have the right to have personal data transmitted directly from one controller to another, where technically feasible and when doing so does not adversely affect the rights and freedoms of others.
In order to assert the right to data portability, the data subject may at any time contact any employee of the GALERIA ALASKA PRODUCTIONS / Jochen Hick.
Each data subject shall have the right granted by the European legislator to object, on grounds relating to his or her particular situation, at any time, to processing of personal data concerning him or her, which is based on point (e) or (f) of Article 6(1) of the GDPR. This also applies to profiling based on these provisions.
The GALERIA ALASKA PRODUCTIONS / Jochen Hick shall no longer process the personal data in the event of the objection, unless we can demonstrate compelling legitimate grounds for the processing which override the interests, rights and freedoms of the data subject, or for the establishment, exercise or defence of legal claims.
If the GALERIA ALASKA PRODUCTIONS / Jochen Hick processes personal data for direct marketing purposes, the data subject shall have the right to object at any time to processing of personal data concerning him or her for such marketing. This applies to profiling to the extent that it is related to such direct marketing. If the data subject objects to the GALERIA ALASKA PRODUCTIONS / Jochen Hick to the processing for direct marketing purposes, the GALERIA ALASKA PRODUCTIONS / Jochen Hick will no longer process the personal data for these purposes.
In addition, the data subject has the right, on grounds relating to his or her particular situation, to object to processing of personal data concerning him or her by the GALERIA ALASKA PRODUCTIONS / Jochen Hick for scientific or historical research purposes, or for statistical purposes pursuant to Article 89(1) of the GDPR, unless the processing is necessary for the performance of a task carried out for reasons of public interest.
In order to exercise the right to object, the data subject may contact any employee of the GALERIA ALASKA PRODUCTIONS / Jochen Hick. In addition, the data subject is free in the context of the use of information society services, and notwithstanding Directive 2002/58/EC, to use his or her right to object by automated means using technical specifications.
Each data subject shall have the right granted by the European legislator not to be subject to a decision based solely on automated processing, including profiling, which produces legal effects concerning him or her, or similarly significantly affects him or her, as long as the decision (1) is not is necessary for entering into, or the performance of, a contract between the data subject and a data controller, or (2) is not authorised by Union or Member State law to which the controller is subject and which also lays down suitable measures to safeguard the data subject's rights and freedoms and legitimate interests, or (3) is not based on the data subject's explicit consent.
If the decision (1) is necessary for entering into, or the performance of, a contract between the data subject and a data controller, or (2) it is based on the data subject's explicit consent, the GALERIA ALASKA PRODUCTIONS / Jochen Hick shall implement suitable measures to safeguard the data subject's rights and freedoms and legitimate interests, at least the right to obtain human intervention on the part of the controller, to express his or her point of view and contest the decision.
If the data subject wishes to exercise the rights concerning automated individual decision-making, he or she may, at any time, contact any employee of the GALERIA ALASKA PRODUCTIONS / Jochen Hick.
Each data subject shall have the right granted by the European legislator to withdraw his or her consent to processing of his or her personal data at any time.
If the data subject wishes to exercise the right to withdraw the consent, he or she may, at any time, contact any employee of the GALERIA ALASKA PRODUCTIONS / Jochen Hick.
The data controller shall collect and process the personal data of applicants for the purpose of the processing of the application procedure. The processing may also be carried out electronically. This is the case, in particular, if an applicant submits corresponding application documents by e-mail or by means of a web form on the website to the controller. If the data controller concludes an employment contract with an applicant, the submitted data will be stored for the purpose of processing the employment relationship in compliance with legal requirements. If no employment contract is concluded with the applicant by the controller, the application documents shall be automatically erased two months after notification of the refusal decision, provided that no other legitimate interests of the controller are opposed to the erasure. Other legitimate interest in this relation is, e.g. a burden of proof in a procedure under the General Equal Treatment Act (AGG).
Art. 6(1) lit. a GDPR serves as the legal basis for processing operations for which we obtain consent for a specific processing purpose. If the processing of personal data is necessary for the performance of a contract to which the data subject is party, as is the case, for example, when processing operations are necessary for the supply of goods or to provide any other service, the processing is based on Article 6(1) lit. b GDPR. The same applies to such processing operations which are necessary for carrying out pre-contractual measures, for example in the case of inquiries concerning our products or services. Is our company subject to a legal obligation by which processing of personal data is required, such as for the fulfillment of tax obligations, the processing is based on Art. 6(1) lit. c GDPR. In rare cases, the processing of personal data may be necessary to protect the vital interests of the data subject or of another natural person. This would be the case, for example, if a visitor were injured in our company and his name, age, health insurance data or other vital information would have to be passed on to a doctor, hospital or other third party. Then the processing would be based on Art. 6(1) lit. d GDPR. Finally, processing operations could be based on Article 6(1) lit. f GDPR. This legal basis is used for processing operations which are not covered by any of the abovementioned legal grounds, if processing is necessary for the purposes of the legitimate interests pursued by our company or by a third party, except where such interests are overridden by the interests or fundamental rights and freedoms of the data subject which require protection of personal data. Such processing operations are particularly permissible because they have been specifically mentioned by the European legislator. He considered that a legitimate interest could be assumed if the data subject is a client of the controller (Recital 47 Sentence 2 GDPR).
Where the processing of personal data is based on Article 6(1) lit. f GDPR our legitimate interest is to carry out our business in favor of the well-being of all our employees and the shareholders.
The criteria used to determine the period of storage of personal data is the respective statutory retention period. After expiration of that period, the corresponding data is routinely deleted, as long as it is no longer necessary for the fulfillment of the contract or the initiation of a contract.
We clarify that the provision of personal data is partly required by law (e.g. tax regulations) or can also result from contractual provisions (e.g. information on the contractual partner). Sometimes it may be necessary to conclude a contract that the data subject provides us with personal data, which must subsequently be processed by us. The data subject is, for example, obliged to provide us with personal data when our company signs a contract with him or her. The non-provision of the personal data would have the consequence that the contract with the data subject could not be concluded. Before personal data is provided by the data subject, the data subject must contact any employee. The employee clarifies to the data subject whether the provision of the personal data is required by law or contract or is necessary for the conclusion of the contract, whether there is an obligation to provide the personal data and the consequences of non-provision of the personal data.
As a responsible company, we do not use automatic decision-making or profiling.