History of the Inventor: The Reich Minister for Popular Enlightenment and Propaganda is instructed and authorized to combine the members of the branches of activity that concern his sphere of duties into public corporations"[1] With this clear sentence, the Reichskulturkammergesetz of September 22, 1933 was introduced and the nationalization and supervision of German culture began, namely the forced unification of all those active in the field of culture in an association, the Reichskulturkammer. In addition to its headquarters, the Reichskulturkammer consisted of the following individual chambers: 1st Reichsschrifttumskammer (Bundesarchiv Bestand R 56-V) 2nd Reichspressekammer (R 56-IV) 3rd Reichsrundfunkkammer 4th Reichstheaterkammer (R 56-III) 5. Reichsmusikkammer (R 56-II) 6th Reichskammer der bildenden Künste 7th Reichsfilmkammer (R 56-VI) The Reichsfilmkammer was established before the foundation of the Reichskulturkammer, on 14 July 1933[2] as a "temporary film chamber". The Reichsrundfunkkammer was dissolved again on 28 October 1939 and the members distributed among the other individual chambers.[3] The tasks and organization of the individual chambers can be found in the introductions to the corresponding finding aids. With the First Decree on the Implementation of the Reichskulturkammergesetz of 1 November 1933[4], the individual chambers were given the status of public corporations, which in turn were merged into a single public corporation, namely the Reichskulturkammer. Provisions which the individual chambers were allowed to enact had the rank of indirect imperial law, but were limited to the area of chamber membership. Paragraph 10 of that first regulation stated that admission to an individual chamber could be refused "if facts exist from which it follows that the person in question does not possess the reliability and aptitude necessary for the performance of his duties"[5] The President of the individual chamber concerned decided on the aptitude and aptitude. A rejection meant a ban on the profession, because the cultural practice of the profession outside the chambers was not permitted. When the Reich Chamber of Culture and its individual chambers were established, however, there were no rejections or prohibitions at first, as the individual chambers automatically took over all those involved in culture who were organised in the professional associations responsible for their area. These professional associations formed part of the chamber as professional associations (e.g. Genossenschaft Deutscher Bühnenangehöriger in der Reichstheaterkammer or Deutscher Sängerbund in der Reichsmusikkammer). Thus the members of the professional associations acquired the membership in the single chambers, without examination of the "reliability or suitability". Thus, at the beginning, "non-Aryans" or other groups of people who did not correspond to the "ideal image" of the National Socialists were also in the chambers. For Propaganda Minister Goebbels this was a problem which he tried to solve with the appointment of Hans Hinkels as Third Managing Director of the Reich Chamber of Culture on 1 May 1935. State Commissioner Hinkel was entrusted with dealing with personnel issues in the individual chambers. This meant nothing less than the expulsion of the Jews and other groups of people from the chambers who were undesirable to the National Socialists. Hinkel was responsible for the "cleansing" of the chambers as the "commissioner for the supervision of the intellectual and artistic non-Aryans in German Reich territory". The presidents of the individual chambers were not spared either. Only Max Amann remained president of the Reichspressekammer. It was also Hinkel who took over the transformation of the professional associations into student councils, which was completed in 1935. § 15 of the First Ordinance on the Implementation of the Reichskulturkammergesetz already provided for a division into "professional associations or student councils". What at first glance hardly seemed to be a difference had considerable legal consequences. While the professional associations were still independent corporations with private assets, the newly founded professional associations were only regarded as administrative offices of the chambers without their own legal personality. The former professional associations were thus gradually nationalised and expropriated as a result of this transformation. A particular problem with the presentation of the tasks of the Reich Chamber of Culture was the interdependence with the Reich Ministry for Popular Enlightenment and Propaganda. The president of the RKK, Joseph Goebbels, was at the same time Reich Minister for Popular Enlightenment and Propaganda, his deputy (vice-president) the acting state secretary in the Ministry of Propaganda, at the beginning Reich Press Head Walter Funk. The organisational supervision of the individual chambers was carried out by the RKK headquarters, with its seat in the Ministry of Propaganda. Hans Schmidt-Leonhardt, head of the IC (Legal) department, was initially appointed as its managing director. As a counterpart to the individual chambers, individual specialist departments (press, literature, music, visual arts, theatre, film and radio) were created in the Ministry of Propaganda, whereby the heads of department were at the same time the respective chamber presidents in personal union. The linkages also existed at the lowest Gau level. There was already the usual interweaving of state and party in the Third Reich by the union of the head of the regional office of the Ministry of Propaganda and the head of the NSDAP's main propaganda department in one person. These functionaries now still held the post of Provincial Cultural Administrator and thus the supervision of the local offices of the individual chambers. In support of the Presidents, a Presidential Council was set up in each Chamber. The Presidential Council consisted of seven representatives of the corresponding cultural sector. The persons were appointed by Goebbels himself and the respective chamber president had to appoint a managing director from this circle who was directly entrusted with administrative tasks. On 15 November 1935, Hinkel announced the establishment of the Reich Cultural Senate, in which particularly deserving persons of cultural life would come together and serve as a cultural-political source of ideas for Goebbels. In reality, this Senate was only representative. In it were all chamber presidents, the respective presidential councils, the vice-presidents and the three managing directors of the RKK, who carried the title Reichskulturwalter. But only 3 years later, with Goebbels order of 05 April 1938 (Az. I B 1000)[6], the office of the Reichskulturwalter was abolished again. Only one management remained in the Reich Chamber of Culture with the tasks of "training and propaganda" and supervision of the regional divisions of the individual chambers. The specialist supervision of the individual chambers was now carried out by the specialist departments in the RMVP, the organisational supervision by the responsible administrative departments. The personal union of the offices of Head of Department of the Ministry and President of the Chamber was also abolished. Hinkel himself had been head of the Department IIA (Cultural Activities of Nonarians) since 01 April 1938. After the beginning of the Second World War, the focus was on troop support as an "important task of the war". The troop support consisted essentially of organising performances on front stages and supplying the troops themselves with parlour games, musical instruments, etc. The troops were then given the opportunity to play on the front stages. Organizationally, the RMVP first installed its own "Troop Support" department, which moved to the new "BeKa" department (Special Cultural Tasks)[7] in 1940. The department BeKA was the successor of the department IIA, its head remained Hans Hinkel. By decree of 30 April 1941[8] the "Hauptgeschäftsführung der RKK" was founded. Hinkel received the position of "Secretary General of the RKK" in this main management, which was divided into five departments: Department A (Heinz Tackmann): Administration (Personnel, Budget and Legal Affairs) Department B (Walter Owens): Professional tasks (aptitude test and support of young people, orientation and supervision of career guidance, job creation and social affairs of cultural professions) Department C (Erich Kochanowski): Propaganda (liaison with the departments of party and state, representation of the RKK in film and radio, press affairs, as well as political training and orientation of cultural workers) Department D (Helmuth von Loebell): Cultural personal data (political assessment of cultural workers, exclusion procedures and decisions on complaints, special permits for "non-Aryans", examination of cultural enterprises for Jewish influence, cultural activities of foreigners) Department E (Hans Erich Schrade): Special tasks (troop support, cultural support of the returned ethnic Germans and foreign workers, supervision of the mentally and culturally active Jews in the Reich territory) The BeKA department, which had been de facto dissolved with the founding of the RKK's main management, was renamed "Generalreferat Reichskulturkammersachen"[9] in the RMVP in August 1941. At the same time, the department heads of the main management of the RKK remained in personal union speakers of this general department. The above tasks did not change until the end of the war. On 1 May 1944, Hans Hinkel's key position in the Reich Chamber of Culture became clear once again. On this day, Goebbels appointed Hinkel as Vice President of the RKK, and Hans Erich Schrade assumed the duties of Secretary General. Before that Hinkel had already been appointed "Special Trustee of the Work for the Professions Creating Culture", "Reichsfilmintendanten" and Head of the Film Department in the RMVP. He was also given overall responsibility for the broadcasting entertainment programme. Notes [1] Reichsgesetzblatt 1933 I, p. 661. [2] Reichsgesetzblatt 1933 I, p. 483. [3] 5th VO on the implementation of the Reichskulturkammergesetz. 4]Reichsgesetzblatt 1933 I, p. 797 [5] Reichsgesetzblatt 1933 I, p. 797 [6] Newsletter of the Reich Ministry for Popular Enlightenment and Propaganda No. 5 of 9 April 1938 (R 55/20617). 7] GVPL of 01 Nov 1940 (R 55/20776). [8] R 55/163. [9] GVPL of Nov. 1, 1942 (R 55/20621). Hans Hinkel - Career in the Reich Chamber of Culture 1933 Prussian State Director in Alfred Rosenberg's "Kampfbund für deutsche Kultur" State Commissioner in the Prussian Ministry of Culture Head of the Prussian Theatre Committee 1 May 1935 3. Managing Director in the RKK Headquarters Commissioner for the Supervision of Intellectually and Artistically Active Non-Aryans in the German Reich (as a separate department in the Propaganda Department of the RMVP) 15. Nov. 1935 Reichskulturwalter im Reichssenat 1936 Head of Department II at the headquarters of the RKK 5 April 1938 Head of Department IIA (Supervision of Cultural Activities of Nonarians) in the RMVP July 1940 Chief Executive of the RKK 30. April 1941 General Secretary in the General Management of the RKK August 1941 Head of the General Department for Reich Culture Chamber Matters in the RMVP until 1945 Special trustee of the work for the culture-creating professions Overall responsible for the entertainment programme in the Rundfunk Reichsfilmintendant Head of the Film Department in the RMVP Vice-President of the RKK (from 1. April 1941 onward) May 1944) Inventory description: Inventory history A part of the files (R 56-I/1-147) transferred from the Berlin Document Center to the Federal Archives between 1959 and 1962 has already been recorded by Dr. Wolfram Werner. For a more detailed history of their transmission, see the introduction to the corresponding finding aid book (finding aid books on the holdings of the Federal Archives, volume 31). These are mainly files from the Hinkel office. Newly added were the material files from the "Reichskulturkammer" collections of the former BDC. The contents were as follows: 1. manuscripts of films, novels and plays 2. household matters with the Landeskulturwaltern 3. files of a private service nature (i.e. requests for jobs and petitions, as well as congratulations, mostly from private persons, to Hinkel) Archival processing The titles of the files available in the Koblenz part of the stock are recorded in the present online find book edited by Mr Tim Storch. The signatures assigned at that time were retained. The classification was based on the order already created by Dr. Werner. Due to the new situation of traditions it had to be extended by the item "budget". The classification point "Goebbels-Stiftung für Bühnenschaffende" (Goebbels Foundation for Stage Designers) still existing in the old find book has been removed and is now to be found in the holdings R 56-III (Reichstheaterkammer). It remains to be mentioned that part of the tradition from the former BDC was not recorded in the holdings of the Reichskulturkammer and its individual chambers, but was included in holdings R 55 (Reich Ministry for Popular Enlightenment and Propaganda) due to the determination of provenance (R 55/21300-21564). This can be explained by the organisational link between the RKK and the RMVP. Foreign provenances were handed over to the responsible archive (Landesarchiv Berlin). These were files of the Reichspropagandaamt Berlin, the NSDAP-Gauleitung Berlin and the Landeskulturwalters Berlin. Publications, in particular circulars of the DAF and newsletters of the RMVP, have also been sorted out and handed over to the library. Citation BArch R 56 I/... State of development: publication index (1987), online index (2006). Citation style: BArch, R 56-I/...

Best. 1825 contains files from the estate of Peter Faecke (born 1940) - writer, editor, composer, journalist, reporter, screenwriter, editor and publisher - which form the basis of his work as an author, especially manuscripts and material collections. The estate covers a term from 1961 to 2010.I. Takeover and useThe Peter Faecke of Cologne, who was elected, handed over his estate together with the list of papers to the Historical Archive of the City of Cologne on 29 November 2009. This was acquired under inventory number 2009/52. On 30.06.2010 he added further documents, which were registered under the access number 2010/20. Further taxes remain to be seen. In the tectonics of the archives, the estate is classified under the inventory number 1825 in the department of bequests and collections. six moving boxes filled with standing files, which contained perforated and stapled documents, were taken over. The files showed only minimal damage such as slight wrinkles, compression and dusting. After order and distortion at the end of 2011, the material worthy of archiving was removed from the standing files, cleaned, demetallized, re-bedded for archiving purposes and provided with the assigned signatures. Since January 2012, the original version of the Writers' Legacy has been available in the analogue reading room of the Historical Archive of the City of Cologne and is not subject to any restrictions on use. When citing, the form HAStK, order 1825, no. [] must be observed.II. Order and DistortionFirst of all, the stock was roughly sifted and compared with the list. Accordingly, with a few exceptions, the existing order of files was retained and only repealed where it was possible to create independent contexts or where it could be clearly seen that there had been an erroneous sorting on the part of the predecessor. Following the Bärschen principle, each standing folder and each extracted unit was then assigned a temporary number. After a thorough examination, a comprehensive description of the contents of each file unit was then made. As a result of this and in accordance with the rules for the indexing of estates and autographs, a basic thematic division of the holdings into general documents and documents relating to the work was carried out. In addition, a more specific subdivision of the manuscripts and material collections was made, oriented to the genre, and the units were pre-sorted accordingly. Afterwards an order was operated according to chronological principle and the order after final, sequential numbers was added. Subsequently the data base distortion took place in the archive software ActaPro. The two overarching classification points General, Correspondence and Criticism as well as Works and Collections of Materials were compiled, and the latter was subdivided into novels, radio contributions, screenplays and non-fiction texts. The units were then recorded and assigned to the respective classification points in the same way as the presorting, with the title field usually corresponding to the specific publication title and the exact content being made accessible by means of content and thesaurus notes. The formulation deliberately did not distinguish between manuscripts and typoscripts in the literal sense of the word, but referred to any draft text or concept, whether handwritten or typewritten, as manuscripts. Finally, cross-continuance indexes of objects, locations and persons were carried out and the inventory information was displayed on the meta level. Via an EAD-compliant interface, the data records of the holdings were exported to the archive portal of North Rhine-Westphalia, which guarantees Internet research.The indexing of Peter Faecke's estate was carried out as part of a practical indexing work for the master's degree in archive science at the Potsdam University of Applied Sciences in November and December 2011 in the indexing rooms of the Restoration and Digitisation Centre of the Historical Archive of the City of Cologne by the editor Nancy Nowik under the guidance of Dr. Gisela Fleckenstein, Head of Department 3 - Bequests and Collections.III. BiographyPeter Faecke was born on 3 October 1940 in Grundwald in Silesia. In the course of his expulsion from his homeland, the family moved to Hannoversch Münden in Lower Saxony in 1946. From 1961 to 1965 he studied Romance Languages, German and Philosophy in Göttingen, Berlin, Hamburg and Paris. In 1965 Faecke became the youngest editor to date of Westdeutscher Rundfunk in Cologne and remained loyal to WDR until 1990 as an editor in the Department of Culture and Science. His main role was that of rapporteur on Third World culture. He was significantly involved in the development and expansion of the literary program in radio at all. From 1982 to 1985, he also managed a media development project for German Development Aid in Peru, which was intended to serve the expansion of the state broadcasting system there, but had to be discontinued prematurely due to a worsening civil war. Peter Faecke also worked as a novelist during his studies and continues to do so successfully today. Since 1969 he has been a member of the Writers' Association P.E.N. Centre Germany and the Association of German Writers (VS). In 1971 he was even appointed guest lecturer for German literature at the University of Texas/USA in Austin. 1991 to 2003 he worked as a freelance journalist and writer at the WDR, travelled to Latin America and Africa for longer periods of time for research purposes and took action as a reporter from crisis areas.a. 1965 the Lower Saxony Prize for the Promotion of Literature for Young Artists, 1966 the NRW Prize, 1967 the City of Cologne Prize, 1978 a Villa Massimo Scholarship in Rome and 1991 as well as 1994 scholarships from the German Literature Fund e. V. Darmstadt. At the turn of the millennium he began publishing his own books within the BoD Norderstedt publishing house. With the founding of his publishing house Edition Köln in 2002/2003, Faecke established himself as a publisher of German and international fiction, crime literature and non-fiction. Edition Köln also serves its readers with eBooks.IV, among other things. Bibliography in selection (partly unpublished)The following list is intended to provide an overview of Peter Faecke's audio, literary and editorial oeuvre and thus of the diversity of his media work:a) Novels:1963 Die Brandstifter (former: Die Muschel), first published by Walter-Verlag, Olten und Freiburg;1965 Der rote Milan, first published by Walter-Verlag, Olten und Freiburg;1970-1973 Postversand-Roman - 11 regelmäßige Lieferungen, mit Wolf Vostell, first published by Luchterhand-Verlag, Neuwied/Darmstadt/Berlin;1982 Das unaufstostoppame Glück der Kowalskis. Prehistory, first published by Claassen Verlag, Düsseldorf;1988 Flug ins Leben, first published by Unionsverlag, Zurich;1991 Der Mann mit den besonderen Eigenschaften, unpublished (the manuscript was later completely discarded); after a new beginning this led to the novel Hochzeitvorbereitungen auf dem Lande, in the final version the second volume of the Kowalski project);1995 When Elizabeth Arden was nineteen, first published by Elster-Verlag, Baden-Baden and Zurich (revised version appeared as Landschaft mit Gärtner, first volume of the definitive Kowalski tetralogy);Die Zwei Bücher von der Heimat: I The lost years, and II The livestock dealer, the fool and the writer, publication unclear (precursor of the arrival of a shy man in heaven);2000 Arrival of a shy man in heaven, first published by Edition Köln at BoD, Norderstedt;2003 Wedding preparations in the countryside. The Kowalski Project II, Schelmenroman, first published by Edition Köln, Cologne (revised version of Arrival of a Shy One in Heaven); 2004 The Secret Videos of Mr. Vladimiro. Criminal pictures. The Kowalski Project (third volume of the Kowalski tetralogy), first published by Edition Köln, Cologne;2007 Die Geschichte meiner schönen Mama. The Kowalski Project IV, first published by Edition Köln, Cologne; 2007 Landschaft mit Gärtner. The Kowalski Project I, published by Edition Köln, Cologne (revised version of Als Elizabeth Arden neunzehn war);2007 Der Kardinal, ganz in Rot und frischbügelt (Kommissar Kleefisch-Serie I), first published by Edition Köln, Cologne;2008 Die Tango-Sängerin (Kommissar Kleefisch-Serie II), first published by Edition Köln, Cologne;2010 Fragment Wer getötete Kiki Diamant? (Der dritte Fall für Kleefisch), ebook reading sample published;b) Radio contributions:1965 Preface to the reading Der rote Milan (production: DLF);1966 Book criticism of Dieter Wellershof's Ein schöner Tag (production: WDR, Kulturelles Wort);1966 Criticism of Jacov Lind's Post Scriptum (production: WDR, Literarisches Studio);1966-1967 Kulturkommentare (production: WDR);1967 Erlebte Zeit - Die goldenen Jahre, aus der Sendereihe Wissenschaft und Bildung (Production: WDR);1967 Die Wiener Gruppe: Texte, Gemeinschaftsarbeiten und Chansons vorgestellt von Gerhard Rühm (Production: WDR, Kulturelles Wort);1968 Beitrag Kritisches Tagebuch (Production: WDR);1969 Hörspiel lesen sehen (Produktion: WDR);1969 Sendereihe Dokumente und Collagen (Production: WDR III. Programme, main department radio play);1970 programme Deutsche Wochenschau (production: SWF/SDR);1972 radio play Köln, Hohe Straße (production: WDR);1972 programme Literatur und Wahlkampf: Berichte und Analysen zur Beteiligung von Autoren am Bundestagswahllkampf 1972 mit Jürgen Alberts (production: WDR, Kulturelles Wort);1972 Lang-Gedicht Sätze für zwei und mehr, aus der Sendereihe Literarisches Studio (production: German long poem, sentences for two and more, from the series Literarisches Studio (production: German literary studio): WDR, Kulturelles Wort);1972 Moderationtext Deutsch in Texas - Berichte, Texte, Tonbänder zu einem Arbeitsauf Aufenthalt in den USA (Production: WDR3);1973 Radio play Hier ist das Deutsche Fernsehen mit der Tagessschau mit Rainer Ostendorf und Hein Brühl - Versuch einer alternativen Tagesschau in Zusammenarbeit mit Schülern der Hauptschule Köln-Kalk (Production: WDR III. Programme, main department radio play);1973 programme Die Biographie der Dinge - das Handschuhfach mit Rainer Ostendorf, from the series Literarisches Studio (production: WDR, Kulturelles Wort);1973-1974 radio series Die Fred Kowalski-Show (production: WDR, Kulturelles Wort);1976 radio play 48 PS - Zur Biografie der Autos mit Rainer Ostendorf (production: WDR);1976 programme Kein Fressen für die Banken! - The citizens' initiative Rheinpreußen-Siedlung in Duisburg-Homberg (3), from the series Bürger- und Arbeiterinitiativen in Nordrhein-Westfalen (Production: WDR, Kultur und Wissenschaft, published as audio book in the Studio für Strategische Kommunikation, Reithofen [1980]); 1977 Broadcast "Mit Prozessen überziehen... - Peter Faecke on proceedings against the citizens' initiative Rheinpreußen-Siedlung in Duisburg-Homberg Part 2 (9), from the series Autoren als Gerichtsreporter (production: WDR, Kultur und Wissenschaft);[1977-1979] Langzeit-Reihe Landprojekt (production: WDR, Kultur und Wissenschaft, as editor);[1978] Das Gummersbacher Testament - Zur Geschichte des Niedergangs der oberbergischen Textilindustrie. Materials, Memories, Conversations with Gerd Haag;1979 reportage by Klaus Wildenhahn and Gerd Haag "Da wo die Kamine smäu, da müssen später hin (1), aus der Reihe Leben und Arbeiten in Südwestfalen - ten approaches to the province;1979 Report by Gerd Haag and Heiner Taubert Every cow I put more in the stable has to be abolished by another farmer (2), from the series Life and work in South Westphalia - ten approaches to the province;1979 Report Komm her, was brauchst Du die Gewerkschaft, ein Bier kriest Du von mir (6), from the series Life and work in South Westphalia - ten approaches to the province;1979 Report by Friedhelm Melder Komm schon mal zum Wochenende - Die Bedeutung der Region als Naherholungsgebiet am Beispiel des Biggeseeses (8), from the series Leben und Arbeiten in Südwestfalen - ten approaches to the province;1979 Report by Dirk Gerhard Das Vergangene ist nicht tot, es ist nicht einmal vergangen (10), from the series Leben und Arbeiten in Südwestfalen - ten approaches to the province;1979 Resolut, with headscarf, basket, red cheeks, and something stupid in his head? - Women in the country. Prejudices - judgments, worked out with rural women from the Olpe/Sauerland district in encounter with women from Cologne and Gummersbach, recording and compilation by Mechthild Buschmann and Peter Faecke;1981 Patria o Muerte - Eine Westdeutsche Journalistengruppe in Kuba (production: RB/WDR/SFB);1981 show Guantanamera;1981 We say so openly, the bourgeoisie does not ...- radio stations in Cuba or Radio Reloj: Das Radio mit der Uhr;1983 series Leben und Arbeiten in Dortmund - nine approaches to the Ruhr area with Lothar Romain (production: WDR, Kultur und Wissenschaft);1985 reportage Lima die Schreckliche - report about a working stay in Peru (production: WDR/RB/SFB);1985 Report Lima the Terrible - II Report about a little man with a hat;1985 Report Lima the Terrible - III Report about Presidents;1985 About the Overflowing of the Andes;1985 The Long March of the Miners - Self Testimony of a Peruvian Miner's Woman (Production: WDR, Culture and Science);1986 Living you took her from us... - The Teatro Vivo from Guatemala. Reports on and from Central America on the occasion of a theatre performance (production: RB);1987 Report Das Kreuz des Südens (production: RB/SFB/SWF);1987 Programme Back to the Rio de la Plata - Zur Lage exilierter Rückkehrer nach Lateinamerika mit Hein Bruehl;1988 Report Nicht ich bin der Fremde, die Fremden sind die anderen - Portrait of the songwriter Daniel Viglietti from Uruguay (production: WDR3/RB);1989 reportage Chapinlandia - Ein Reisebericht aus Mittelamerika (Production: WDR1, Kultur und Wissenschaft);1993 broadcast Comrade Führer - Baghdad, two years after the 'Operation Desert Storm': Monitored Observations in Iraq (Production: SFB);1994 reportage Welcome, by my Eyes! - Journey through the autonomous region Kurdistan (Northern Iraq) (Production: SFB/WDR/SWF);1995 Documentation Petrified Forests, Dry Water - Journey through the Republic of Namibia (Southwest Africa) in the 5th Year of Independence (Production: SFB3);1996 Report The Elephant Bull and the Writers - Comments on Cocoa Land in Namibia, the Dying Himba Tribe and the German-Born Romancier Giselher W. Hoffmann, taking into account my own bias as an author (production: WDR/SFB);2000 broadcast Wenn bei uns ein Greis stirbt, dann burnt an entire library, from the series Forum Literatur, a.o. episode Amadou Hampaté Ba, the narrator and cultural archivist of the Sahel countries (production: WDR);2001 radio play Die geheimen Videos des Herrn Vladimiro (production: WDR);o. D. Funkerzählung Ein Fisch zuiel;c) Screenplays:1994 Documentary film screenplay Fritz lebt. Secret offender and Viehlosoph (production: Tiger TV GmbH, director: Elke Baur);1994 feature film script Eine Liebe zum Land (working title);d) factual texts:1964 Krebs und Katze;1967 essay clatch as clatch can;1971 text For example Cologne: Hohe Straße;1972 Excerpt from Als Elizabeth Arden neunzehn war, in: Akzente;Essay Köln: Bahnhofsvorplatz;Article Arbeiterpathos und literarische Sonntagsmalerei;1973 Gefahr ging eigentlich nur von Linksaußen Volkert aus dem Arbeitstitel: About the chancellor election '72 in the FRG;1974 essay Hohe Straße, in: Notebook - Neun Autoren, Wohnsitz Köln, Kiepenheuer