This article must adhere to the biographies of living persons (BLP) policy, even if it is not a biography, because it contains material about living persons. Contentious material about living persons that is unsourced or poorly sourcedmust be removed immediately from the article and its talk page, especially if potentially libellous. If such material is repeatedly inserted, or if you have other concerns, please report the issue to this noticeboard.If you are a subject of this article, or acting on behalf of one, and you need help, please see this help page.
This article is rated Stub-class on Wikipedia's content assessment scale. It is of interest to the following WikiProjects:
This article is within the scope of WikiProject Biography, a collaborative effort to create, develop and organize Wikipedia's articles about people. All interested editors are invited to join the project and contribute to the discussion. For instructions on how to use this banner, please refer to the documentation.BiographyWikipedia:WikiProject BiographyTemplate:WikiProject Biographybiography articles
This article is within the scope of WikiProject Austria, an attempt to build a comprehensive and detailed guide to articles about Austria on Wikipedia. If you would like to participate, please join the project.AustriaWikipedia:WikiProject AustriaTemplate:WikiProject AustriaAustria articles
This article is within the scope of WikiProject Women, a collaborative effort to improve the coverage of women on Wikipedia. If you would like to participate, please visit the project page, where you can join the discussion and see a list of open tasks.WomenWikipedia:WikiProject WomenTemplate:WikiProject WomenWikiProject Women articles
Weil Du mir gehörst (or) weil du mir gehörst [because you belong to me]edit
Latest comment: 3 years ago1 comment1 person in discussion
The most political important movie of Julia Koschnitz is "Weil du mir gehörst". It's a movie about the Parental Alienation Syndrome (PAS). The German and Austrian family-law is still today very NASZI influenced with just a few reforms during the past years. Fathers have nothing to say if a mother decides that, even a father would be more competent. Exeptions exists and in the past years more equality was established but like women are often discriminated in jobs and other parts of social life, in beeing a "full" parent in Germany and Austria still fathers are discriminted just because they are male! Mothers have to reproduce children for the war and are respnsible for the kitchen and the kids and man are responsible to fight in wars; a typical relict from the NAZI system which is still a heritage in modern central European countries. This movie is not the first one but (yet) the most emotional one about this topic and why it hurts children. It could have been otherwise, too, because a few little (little!!!) reforms opened the opportunity for some fathers to use the child/children as weapons against their Ex-Partner as well but statisticly according to the practise it is the Ex-wife who does it. It doesn't mean that man would be better, if they could do that; it just represents the statistics of opportunity and the unfairness of the system and especialy for the child as a victim. Julia Koschnitz is a genius! — Preceding unsigned comment added by 85.212.182.230 (talk) 20:07, 23 March 2021 (UTC)Reply
