academy films präsentiert den Oscar nominierten Dokumentarfilm 2004 - 'MY ARCHITECT' - A Son´s Journey - THE LOUIS KAHN PROJECT in Zusammenarbeit mit HBO CINEMAX DOCUMENTARY FILMS
Dokumentarfilm, 2003, USA, 116 min, Color, Dolby SR, Englisch mit dt. Untertitel, fsk 12

REGIE: Nathaniel Kahn

BESETZUNG:
Louis I. Kahn (Archiv Aufnahmen ), Edmund Bacon, Frank Gehry, Philip Johnson, Esther Kahn, Nathaniel Kahn, Sue Ann Kahn, Harriet Pattison, I. M. Pei, Alexandra Tyng, Anne Tyng, Shamsul Wares (Mitwirkende

Besetzung: (In der Reihenfolge)
Philip Johnson, Vincent Scully, Jesse Armstrong (taxidriver), Allan Fisher (taxidriver), Albert Schwartz (taxi driver), Nathaniel Kahn, Rabbi Ivan Caine, Rabbi Oscar Kramer, I. M. Pei, Jack MacCallister, Linda Wallace (Union Station, L.A.), Richard Katz, Anne Tyng, Edmund Bacon, Richard Saul Wurman, Frank O. Gehry, Robert Boudreau, Harriet Pattison, Susannah Jones, Charles Jones, Priscilla Pattison (Aunt “Posie”), Edwina Pattison Daniels (Aunt “Eddie”), The voice of Bill Mack, Preston Geren, Tom Seymour, Frank Sherwood, Robert A.M. Stern, Mayor Teddy Kollek, Ruth Chesin, Moshe Safdie, Sue Ann Kahn, Alexandra Tyng, Duncan Buell, Kathy Condé, B.V. Doshi, The Morning Workers (Capital of Bangladesh), Shamsul Wares

Genre
Biogrfie, Dokumentarfilm, Geschichte, Jüdisch
Offizielle Website HIER

AKTUELLES::

D V D RELEASE am 25. September 2005

Es ist soweit. Ab 25. September 2005 gibt es den wunderbaren Film MY ARCHITECT auch in Deutschland auf DVD, natürlich in der Originalfassung, wahlweise mit englischen oder deutschen Untertiteln. Sie finden darauf zusätzliches Bonusmaterial, den original Trailer, ein Gespräch mit Regisseur Nathaniel Kahn, weitere Filmszenen und rare historische Filmaufnahmen mit Louis Kahn. Die DVD ist ausschließlich über academy films und exklusiven Buchandlungen in Deutschland und der Schweiz erhältlich und kann ab sofort bestellt werden.

Bestellformular unter
www.academy-films.com oder Telephon 0711 365 9600

Auszeichnungen:
*Audience Award (2003 Philadelphia Film Festival);
*Sterling Award (2003 SilverDocs Nonfiction Film Festival);
*Best Documentary (2003 Chicago International Film Festival);
*Director´s Guild of America Award goes to Nathaniel Kahn for *Outstanding Directorial Achievement in Documentaries 2003

Nominierung:

*Bester Dokumentarfilm (76th Annual Academy Awards 2004)

SYNOPSIS

KURZTEXT:
Louis I Kahn war einer der Grössten Architekten des 20. Jahrhunderts.
Er starb 1974, einsam und bankrott, und hinterliess neben seiner Ehefrau und einer Tochter, 2 Kinder aus außerehelichen Beziehungen. Sein Sohn Nathaniel, der ihn kaum kannte, begibt sich in MY ARCHITECT auf Spurensuche nach Werk und Wesen des fremden Vaters...

LANGTEXT:
Louis I Kahn ist der bedeutendste Architekt der zweiten Hälfte des 20. Jahrhunderts, in seiner Wirkung fast nur mit Le Corbusier vergleichbar. Doch 1974 starb der jüdische Einwanderer mittellos auf der Toilette einer New Yorker U-Bahnstation. Seine Adresse hatte er aus seinem Personalausweis herausgekratzt. Louis Kahn gab der Welt sogar nach seinem Tot noch Rätsel auf. Sein einziger Sohn, Nathaniel, war zu diesem Zeitpunkt elf Jahre alt.
Mit dem Dokumentarfilm My Architect versucht der junge Autor und Filmemacher Nathaniel Kahn Licht in das Dunkel des bewegten Lebens des großen Architekten zu bringen.
Nathaniel Kahn begibt sich dazu auf eine faszinierende Reise rund um die Welt. Er sucht jene auf, die Louis Kahn kannten und mit ihm arbeiteten. Er reist zu den Gebäuden aus Beton, Ziegelstein und Licht, die Louis Kahn berühmt machten. Doch vor allem nimmt uns Nathaniel Kahn mit auf eine epische, fast spirituelle Suche nach seinem Architekten, seinem Vater, dem Menschen Louis I. Kahn, dessen kontrastreiches Leben und Werk in poetischen und eindrucksvollen Bildern nachzeichnet. Nathaniel sagt selbst: „Ich erreichte einen Punkt, an dem es mir schien, als würde ich tatsächlich mit meinem Vater reden.“

NATHANIEL KAHN
Nathaniel Kahn (41) aufgewachsen in Philadelphia/USA, besuchte die Yale University, wo er mit dem 'Gordon Prize' für die Arbeit als Theaterregisseur ausgezeichnet wurde. Er schrieb und führte Regie für das Off Broadway Theaterstück 'Owl´s Breath', und war Co Autor für den Kurzfilm 'The Room', der auf dem Cannes Filmfestival einen Preis gewann. Später entstanden engagierte und viel beachtete Dokumentarfilme zum Thema Umweltschutz. 'My Architect' ist Nathaniel Kahns erster Kino-Langfilm, der bereits bereits eine Oscar Nominierung sowie zahlreiche Preise erhielt.

WER WAR LOUIS I KAHN?
1901 in Estland geboren, zog als Vierjähriger mit seinen Eltern nach Philadelphia. Musikalisch wie auch zeichnerisch begabt erhielt er ein Stipendium für das Architekturstudium an der Universität von Philadelphia. Seine wichtigsten Bauten entstanden in den Jahren 1951-1974, uA. die Art Gallery der Yale Universität, an der er seit 1947 unterrichtete, das Salk Institute in Kalifornien, die Exeter Library und das Yale Center for British Art, das Kimbell Art Museum, sowie das Indian Institute of Management in Ahmedabad, Indien, und das Regierungsviertel für Dhaka, die Hauptstadt von Bangladesch, das erst nach seinem Tod 1974, fertiggestellt wurde.

PRESSE, LINKS & Film unterstüzende Partner

BILDMATERIAL GIBT ES HIER

PRESSE

NEW YORK MAGAZINE, ROBERT KOLKER
"SPELLBINDING...A Citizen Kane-like meditation."

HOT TICKET, LEONARD MALTIN
"One of the best film of this, or any year!"

Mehr Kritiken bei:
Rotten Tomatoes
HIER
Yahoo
HIER

"Das Phänomen Louis Kahn" von
Prof. Hansjörg Göritz, Architekt BDA DWB HIER

Filmforum New York HIER

NOCH MEHR KRITIKEN:

Movie review: 'My Architect: A Son's Journey'
By Michael Wilmington
Chicago Tribune Movie Critic

4 stars (out of 4)

Movies today rarely touch chords that are spiritual or deeply emotional, but Nathaniel Kahn's remarkable documentary "My Architect: A Son's Journey" does both.

This powerful film, one of the five nominees for this year's Oscar in the Best Documentary category (and probably the favorite), is a portrait of Kahn's father, the famed architectural visionary Louis Kahn, who fathered his only son out of wedlock and never publicly recognized him.

Done with amazing emotional balance and openness, Nathaniel's film becomes a quiet, inspiring study of the vagaries of genius, the blindness of commerce, the pain of family conflicts and the almost sublime power of great architecture or great art.

At the end of "My Architect," Indian architect Shamsul Wares gives a poignant elegy on the site of Louis' supreme posthumous achievement, the National Assembly building and capital of Bangladesh - and I was overwhelmed. You may be, too, as Wares' speech becomes increasingly filled with awe and sorrow for the magnitude of Kahn's works and the sadness, sins and deep frustrations of his life.

Nathaniel frames his film as a detective story, with himself as sleuth/ narrator, gathering information, interviewing witnesses and photographing the grand edifices and complexes designed by the father he knew so little. What he learns during his "Son's Journey" is troubling, ambiguous, glorious and tawdry - and still a mystery until almost the end of the road.

Louis, one of the most influential architects of the 20th century, was someone whom the young Nathaniel adored: a wizened, ugly little man with a burn-scarred face and magnetic personality who infrequently visited Nathaniel and his mother. But he was also a riddle. In his troubled, work-obsessed life, Louis had fathered three separate families, though only one officially, with his lifelong wife Esther.

When Louis died at age 68, Nathaniel was only 11. Now in middle age, the son decides to investigate, undertaking a voyage filled with beautiful, impressive, sometimes overpowering sights (Kahn's Jonas Salk Institute and Kimbell Art Museum) and withering emotional crises.

Louis Kahn, Nathaniel learns, was a phenomenon. According to his colleague I.M. Pei, he was one of the most admired architects of the last century - and according to colleague Philip Johnson, the most loved, above Frank Lloyd Wright or Mies van der Rohe. But, as the child of a poor Estonian Jewish family, Louis rose with difficulty and was never fully appreciated until the last 10 years of his life. He died, alone and bankrupt, in Penn Station, his name mysteriously crossed off his passport, on his way back from a foreign commission he never lived to complete.

That was the Bangladesh capital, only one of many designs Louis never lived to see, or which were rejected or abandoned. Lacking business sense, Louis rarely made the money his stature warranted. Socially blunt, he incurred the enmity of the power elite in his own city, Philadelphia, whose nabobs rejected his radical plans for rebuilding their downtown in the '60s. (One of them, the insufferably smug Edmund Bacon, appears here, pathetically, to revile Louis once again to his son.)

Hanging over all was the shadow of Louis' secret scandal, the three families who finally crossed paths only at his funeral: his lover and colleague Harriet and son Nathaniel; another lover/colleague, Anne, and their illegitimate daughter Alexandra Tyng; and wife Esther and daughter Sue Ann. Circumstances and Esther kept them all apart. But years later, the three children sit down amicably together for Nathaniel's camera - a family, however briefly, at last.

Was Louis a cad? An overreacher? Or, as one of his friends suggests, an overgrown child unable to take control of his personal life? The movie keeps revealing real anguish, but softly, subtly. Nathaniel never indulges in bathos, keeping a sense of detachment and discreet control - and this allows him to gain a deep appreciation of his father's good and bad points and to resolve his own doubts.

At the end, as the vast stone walls, windows and corridors of the Bangladesh capital (constructed, amazingly, by hand labor over a 23-year period) tower like some stunning science-fiction monument over the bare Dhaka plains, and as Wares speaks passionately about the genius who envisioned them, you feel simultaneously the joy of lasting art and the painful transience of life.

Few scenes in any recent film are as moving as Wares' testimony and the surrounding awesome views of Kahn's masterpiece. Even if you know nothing of architecture or Louis Kahn, that climax will bring you as close to them both as a father's touch, a mother's loss, a son's tears.

#

New York Daily News - http://www.nydailynews.com

Son builds a dad from memories

Friday, November 14th, 2003

MY ARCHITECT: A SON'S JOURNEY At Film Forum (1:56). Unrated: nothing objectionable.

The son of renowned architect Louis Kahn has built his own memorial edifice with "My Architect," an honest, emotional documentary about a man who defied being truly known.

Kahn died 25 years ago of a heart attack in a Penn Station rest room, in debt and leaving behind a wife and two mistresses, plus their assorted children. Nathaniel Kahn was one of those children. He remembers every one of the precious few moments he spent with his dad. This film is a personal journey to find out more about him as an architect and a man.

The younger Kahn visits all his dad's buildings, photographing them with appreciation for their spiritual qualities, as well as the esthetic ones, dwelling lovingly on weathered walls as if they were part of his father's face, scarred as it was by a childhood accident.

He also interviews famous architects who knew Louis, including Philip Johnson, Frank Gehry and I.M. Pei. Their reminiscences move Nathaniel closer " but not too close " to his goal.

Apparently Louis Kahn was not much of a father, raconteur or businessman. But he was a genius, and he left his mark on all the people whose lives he touched.

Nathaniel is not the only person awed by Louis' memory. With his gently forthright interviewing technique, he is able to elicit tears from many of his subjects, including his mother. Of all people, you'd think she'd be the most disillusioned, since Louis remained married to someone else to the end of his life. But she still believes in Louis with fierce loyalty, as does Nathaniel by movie's end.

#

My Architect Receives Oscar Nomination

January 28, 2004
Filmmaker Nathaniel Kahn’s "My Architect" has received an Oscar nomination for Best Documentary Feature.

The film is about Kahn's search to unravel the mysteries of his late father, acclaimed architect Louis I. Kahn. Conceived as a journey of filial discovery, it is both a moving tribute to a great artist and a candid portrait of a complex, elusive man. The film features beautiful imagery of Kahn's masterpieces, such as the Yale University Art Center, the Kimbell Museum of Art in Fort Worth, Texas, and the Salk Institute in La Jolla, California.

The film premiered last March at the New Directors New Films festival in New York City and is being distributed theatrically in the U.S. by New Yorker Films. Other films nominated in the Documentary category are Balseros, Capturing The Friedmans, The Fog of War, and The Weather Underground.

Sam Lubell with Leslie Yudell
Variations on an enigma:
Nathaniel Kahn’s new film revisits his famous father Interviewed by Leslie Yudell

Filmmaker Nathaniel Kahn’s most recent project, My Architect, is a feature-length documentary about his father, the architect Louis I. Kahn. Conceived as a journey of filial discovery, it is both a moving tribute to a great artist and a candid portrait of a complex, elusive man. The film premiered last March at the 32nd New Directors New Films festival in New York City and is being distributed theatrically in the U.S. by New Yorker Films; it will open at the Film Forum in New York on November 12 (for more information, including a schedule of screenings around the country, go to www.myarchitectfilm.com).

INTERVIEWS:

"My Architect": Nathaniel Kahn's Search for His Famous Father
by Nick Poppy

"My Architect" director Nathaniel Kahn with producer Susan Rose Behr at last week's New York City party for the film, hosted by HBO & MoMA. Photo credit: Eugene Hernandez/ © indieWIRE (shot on the Kodak LS443)
see http://www.indiewire.com/people/people_031110kahn.html

"My Architect" director Nathaniel Kahn with producer Susan Rose Behr at last week's New York City party for the film, hosted by HBO & MoMA. Photo credit: Eugene Hernandez/ © indieWIRE (shot on the Kodak LS443)
When the architect Louis I. Kahn collapsed and died in the men's room of Penn Station in 1974, he left behind many things. There were buildings of monumental importance and vision, like the Salk Institute for Biological Studies in southern California, the Kimbell Art Museum in Fort Worth, and the National Assembly Building in Dhaka, Bangladesh. There were ambitious and unfinished projects, including plans for an enormous synagogue in Jerusalem. And there were people. Kahn's obituary, which made the front page of The New York Times, listed his survivors as a wife and daughter. But the list was incomplete. The architect had also secretly fathered another daughter and a son by two women to whom he was not married. Perhaps tellingly, Louis Kahn's body lay in the city morgue for three days before it was claimed. The architect, it turns out, was many things to many people, but there was something elusive, a little hard to identify, at the center.

Nathaniel Kahn was 11 at the time of his father's death, and that loss, compounded by the very public denial of his existence -- the Times obituary that omitted him, his mother, and his half-sister -- affected him deeply. His father's death left him with many questions, which boiled down to a single, gemlike query: who was Louis Kahn?

Now, almost 30 years later, the son has made a film about the father. Nathaniel Kahn's personal, first-person documentary "My Architect" (which opens at Film Forum on Wednesday and nationwide thereafter) takes measure of Louis Kahn as a person and an artist, the architect of many buildings, as well as three children. In "My Architect," the younger Kahn travels the world, visiting his father's buildings and talking to the people who knew him. Nathaniel traces the lines of Louis's life and career, describing the obstacles and influences that shaped his father, and in so doing, comes to a better understanding of who his father was, and who he himself is. "My Architect" may be to architecture what Mark Moskowitz's "Stone Reader" is to literature: an appreciation, an evocation, a search for a person, a family, a community -- and a reckoning with the enchanting, maddening, soul of the artist.

Nathaniel Kahn spoke with indieWIRE contributor Nick Poppy about "My Architect" and his famous, obscure, neglectful, loving father.

indieWIRE: It seems like architect and documentary filmmaker are parallel careers -- they occupy the same sort of place in our society.

Nathaniel Kahn: I think first of all just the process of making a building and the process of making a movie have a lot of similarities, in that there are so many things that conspire to kind of reduce your vision along the way, from the difficulties with convincing people to be involved, to the difficulty of getting money, to just the amount of time it takes. And then of course the fact that buildings are constructed and films are constructed. I mean, you put things together, you string things together, you put stone upon stone. It's a slowly building process. Also, there is the idea that ultimately architecture is just about space and light. And films are also certainly very much about light. Physically speaking, it is literally capturing light. But also it is conveying a feeling of space, and movement.

Those things also seem related -- I think they're related in complex ways that I probably made way too simple, but it is something to think about. I do think also that architecture is all around us, and film is all around us. There are a lot of bad films out there. There's a lot of bad architecture out there, and I think sometimes it takes a lot of time to begin to see what's really good. And I think what the test seems to be is, what really sticks with you. And what really becomes a part of your life. There are buildings I've visited, places like Chartres Cathedral, or some of the buildings of my father's. You visit them and they really do change your life. They make you see things differently. And I think a great film can do that, too. That, after you see a great film, your world is somehow different. It almost changes your consciousness a little bit.

iW: It struck me when you were going around to the various building sites that you were looking for family, that you were visiting your brothers and sisters. You have some kinship with these things and the people around them.

Kahn: I think that's true. I think on some level, all the people I talked to were touched by this man, in one way or another. And I think that in a way, that makes the film the measure of a life. But also, what you point out is that each one of these people sort of has a kinship with each one of the other people, because of this man. And I think that's true to some degree And when you have someone like Lou, who affected so many people, and gave so much of his life to creating something, creating things, gave so much time, energy, life force to those things. He had a really profound impact on these people, and I think they [still] think about him. We all think about him in different ways. I know that each one of his children has something they wish they'd said to him, or something they wish they'd asked him.

And the same thing goes for a lot of these other people. From the famous architects like Philip Johnson, I.M. Pei, Moshe Safdie, Frank Gehry, to the cab drivers who drove him around, and are still puzzling about him. You know, who was he really? He was one of those people who, when he came through your life, you couldn't help but be affected by him. Not everybody liked him, and that's the other thing that I was pleased to be able to show in the film is that there were people who didn't like him. And who didn't get along with him. Or who didn't get what his thing was. And I didn't want to just create a film that was a puff piece about how great he was. I wanted to really take the full measure of the man. And when you open yourself to that, a lot of things come out that are surprising, and complex, and contradictory.

iW: I was a little surprised by your response throughout the film. You seemed remarkably emotionally contained. The story about your family is a little unusual, and I might have expected more anger, more...

Kahn: Sturm und Drang?

iW: Yeah.

Kahn: I think that one of the hardest things in making the film was finding the right voice for me. And we tried a lot of different things. And I think that what I discovered is that one has all kinds of emotions, but you have to find the right place for them. And I didn't want to whitewash the entire film with this sense of anger. I do think there's a strong sense of longing throughout the film, and that was sort of more what I was after. My father was my hero, and he died when I was 11. So, I really never experienced the kind of natural teenage rebellion or the anger at him. I never experienced those feelings as a young person. So 20 years later, 25 years later, 30 years later, it's very difficult to supply those things. Difficult to find them. I certainly have them. There are some moments when I express a little bit of anger or frustration at him. And actually, through making the film, I feel those emotions more now than I did before making the film. I think it brought me closer to him, so in a way, I was able to experience feelings about him that I really had not had, and certainly one of them was frustration and anger at times. We certainly tried narration that was angrier, but it didn't work. It sort of skewed the whole thing. The last thing I wanted to make was a "Daddy Dearest" film. It's not really what I felt about it. And I think that we live in an age when everybody thinks if you're not being angry, you're not being real. And that's a little shallow.

iW: One of the major themes of the film has to do with the things that a person leaves behind. There's so much physical stuff from Louis Kahn's life, and you use that material to paint him.

Kahn: I think you're right. In a lot of ways the movie is about what's left behind, and I hope that there's a kind of universality to that, because all of us leave things behind, whether it's children, or a financial legacy, people do leave things behind. I think in the case of Lou, he left a great deal behind that is kind of unusual. In the film I really wanted to find those things. And obviously some of them are buildings. But some of them are people, too. Or feelings. In a way, the film is a little bit of ghost story. We used the footage that way. The editor and I talked a lot about how we wanted to use that archival footage that we had of Lou. And we felt very strongly that we didn't want to use it in the conventional way of, "OK, we have some old footage of this guy, here he is talking about one of his buildings." But rather to use it as if he were a character in the movie that we were trying to get to, but at first had kind of a hard time getting to. So the first shots of him have him disappearing into a doorway, or walking on the street. There's a lot of him moving around, or drawing and being a little bit remote. So rather than telling us about himself, it was more that he was this kind of ghost that was weaving in and out of these people's lives, even many years later. Thirty years later.

iW: Did you show your father's gravesite in the film? I don't remember seeing it.

Kahn: We filmed that, but no, we didn't. I had a whole wonderful scene there - the first time I went to his grave, actually. And it was a good scene. Maybe it will be in the DVD.

iW: It struck me that since this film is so much about physical markers, that's another marker.

Kahn: I guess I didn't want to imply that my father was in one place. He was in all those buildings. Each place that I went to, part of him was there. And maybe I didn't want to cast that off and say, well, really he's here. I feel his gravesite is completely just incidental. The marker of his life is not a tombstone. It's those buildings that are out there. It's that solid, ancient looking capital of Bangladesh, it's the mysterious Salk Institute, it's the sublime Kimball Art Museum, it's the beautiful little Trenton Bathhouse. Those are the markers he left behind. Those things, and our memories. Our personal memories. Of which there are many, spread among many people. From cab drivers to famous architects.

Q: What did you learn about your dad from making this film?

My father died when I was 11. My early vision of him was based on my experience as a little boy and was very limited. I remember a warm and loving man, but I also knew he had a bigger world, from the amazing stories he told me about it: of India and Bangladesh, of tigers, of people who built buildings carrying baskets on their heads. For a child, it was intoxicating. But in making my film, I discovered much that I didn’t know before—about his struggle, his persistence, his conflicts, his achievements. He went from being a mythological character to being a man.

Your dad had a very unconventional personal life, which he kept secret. Do you have any misgivings about revealing it?

My film shows that I have great respect for my father, but I also have questions about the choices he made.

I tried not to judge him. As he said, “You can be critical of someone, but you should never judge them.” My father was a great mystery, and I didn’t want to dispel that but to examine it. That’s why I designed the film as a journey: You end up with a multifaceted impression of Lou Kahn that preserves his complexity.

What were the challenges of filming your dad’s buildings?

The big challenge was, how do you get the emotional power of these buildings into a movie? I found it’s not by filming good angles, but by moving through the space of the buildings with people who had a real connection to Lou, using the buildings as dramatic settings. And you have to be willing to wait for a building; you can’t just show up one day and say, “We’re going to do Kimbell today.” I went to the site and stayed for a while, then captured the buildings in different conditions. I used time-lapse photography to show how the buildings changed over time.

Which building do you admire most?

They are all equally interesting, and in different ways. In filming, each required a very specific situation; we had to search for solutions to convey the character of each one. This revealed to me how much depth of imagination went into their design. They really kept me on my toes as a filmmaker. I was also surprised by how the buildings seem both big and small at the same time. Lou Kahn’s sense of scale is astonishing and mysterious. I felt it was essential to capture this: How do you make something feel both monumental and intimate? I hope we succeeded.

VERLEIH IM DEUTSCHSPRACHIGEN AUSLAND

Schweiz
Stamm Film AG Zürich info@stammfilmag.ch

Schweizer Start am 29. Dezember im Kino Arthaus Le Paris Zürich in Zusammenarbeit mit Ralph Baenziger und Benedikt Loderer, Stadtwanderer, Hochparterre

Österreich

POLYFILM Wien polyfilm@polyfilm.at
Tel: (+43-1) 5813900-20, Fax: 5813900-39
österreich Start 15. Februar in Wien

My Architect wird unterstüzt von Architektur und Wohnen A&W 05/04,
Vogue, Bauwelt, Detail, AIT, Architektenkämmer Deutschland, BDA Deutschland und architekturbüro Hansjörg Göritz Architekt BDA DWB + Werkgefährten, Hannover uvm.


Weitere Links:

Haftungshinweis:
Trotz sorgfältiger inhaltlicher Kontrolle wird keine Haftung für die Inhalte externer Links übernommen. Für den Inhalt der verlinkten Seiten sind ausschließlich deren Betreiber verantwortlich.