Bavaria Meets Western Cape Expo 2010 Artscape Theatre 10
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Presseheft S
Sommer ’04 Ein Film von Stefan Krohmer nach einem Drehbuch von Daniel Nocke mit Martina Gedeck, Robert Seeliger, Peter Davor, Svea Lohde, Lucas Kotaranin Eine Ö Filmproduktion von Katrin Schlösser und Frank Löprich P R E S S E H E F T KINOSTART: 19. OKTOBER 2006 Pressematerial: www.alamodefilm.de Gefördert von der FilmFörderung Hamburg GmbH Mit freundlicher Unterstützung der Schlei Ostsee GmbH Pressekontakt: Verleih: Produktion: ZOOMMEDIENFABRIK GmbH Alamode Film Ö Filmproduktion Kerstin Hamm Nymphenburger Str. 36 Langhansstraße 86 Schillerstrasse 94 80335 München 13086 Berlin 10625 Berlin 0 89/17 99 92 10 0 30/44 67 26 0 030/31 80 26 74 0 89/17 99 92 13 0 30/44 67 26 26 030/31 50 68 58 [email protected] [email protected] [email protected] INHALT Besetzung 3 Stab 4 Kurzinhalt 5 Langinhalt 5 Pressenotiz 6 Statement von Stefan Krohmer und Daniel Nocke 7 Produktionsnotiz von Katrin Schlösser, Ö Filmproduktion 7 Interview mit Stefan Krohmer 8 Viten Martina Gedeck 9 Robert Seeliger 10 Peter Davor 11 Svea Lohde 12 Lucas Kotaranin 12 Stefan Krohmer 13 Daniel Nocke 14 Patrick Orth 15 Weitere Informationen 16 Die Schlei-Ostsee-Region und die Schlei Ostsee GmbH 17 2 BESETZUNG Martina Gedeck Miriam Peter Davor André Robert Seeliger Bill Svea Lohde Livia Lucas Kotaranin Nils Nicole Marischka Grietje Gabor Altorgay Daniel Michael Benthin Arzt 3 STAB Regie Stefan Krohmer Drehbuch Daniel Nocke Produktion Ö Filmproduktion GmbH Produzentin Katrin Schlösser Redaktion Sabine Holtgreve (SWR) Bettina Reitz (BR) Barbara Buhl (WDR) Georg Steinert (ARTE) Kamera Patrick Orth Licht Theo Lustig Ton Steffen Graubaum Ausstattung Silke Fischer,Volko Kamensky Kostüm Silke Sommer Maske Liliana Müller Casting Nina Haun Schnitt Gisela Zick Sounddesign Tobias Peper Mischton Stephan Konken 4 KURZINHALT Die augenscheinlich glückliche MIRIAM (Martina Gedeck) verbringt mit ihrem Lebensgefährten ANDRE (Peter Davor), ihrem 15-jährigen Sohn NILS (Lukas Kotaranin), sowie dessen 12-jähriger Freundin LIVIA (Svea Lohde) ihre Sommerferien an der schleswig-holsteinischen Ostseeküste. -
Heftige Gefühle Entwickeln«
»Heftige Gefühle entwickeln« Menschen | Zum Tod des Filmregisseurs Joseph Vilsmaier »Das Filmen ist nicht nur mein Beruf, es ist auch mein Hobby, seit ich 14 bin. Da kommt also alles zusammen. Das versuche ich so gut wie möglich zu machen“, hatte Joseph Vilsmaier vor knapp drei Jahren rückblickend in einem Interview bekannt. Von PETER MOHR Er war zwar mit der Kamera groß geworden, doch als Regisseur war der Ur-Bayer, der in ganz jungen Jahren in einer Jazzband spielte, ein Spätberufener. Vilsmaier stand schon kurz vor seinem 50. Geburtstag, als ihm mit der Verfilmung von Anna Wimschneiders Memoirenband ›Herbstmilch‹ der große Durchbruch gelang. Der Familienbetrieb Vilsmaier war über viele Jahre in der Filmbranche eine feste Größe. Neben Ehefrau Dana Vavrova, mit der der Regisseur von 1986 bis zu deren Krebstod 2009 verheiratet war, standen auch die Töchter Janina, Theresa und Josefina schon früh vor der Kamera. Das Mädeltrio verkörperte in ›Marlene‹ die junge Dietrich in verschiedenen Altersstufen. Dieser Film ist ein Vilsmaier von A bis Z – er fungierte als Produzent, Regisseur und Kameramann in Personalunion. Nach ›Herbstmilch‹ wurde Vilsmaier zunächst spöttisch als »Heimatfilmer« bezeichnet – ein Etikett, mit dem der ausgebildete Kameramann und einstige Klavierstudent keine Probleme hatte. Heimat hatte für Vilsmaier nicht nur eine geografische, sondern auch eine historische Dimension: »Deutsche Geschichte ist auch Heimat.« Die Auseinandersetzung mit der Historie zog sich wie ein roter Faden durch Vilsmaiers erfolgreiche Regiearbeit: von ›Herbstmilch‹ (1988) über die Neuverfilmung von ›Stalingrad‹ (1992), über die ›Comedian Harmonists‹ (1997) und ›Marlene‹ (1999) bis hin zu ›Gustloff‹ (2008). Joseph Vilsmaier, der am 24. Januar 1939 in München als Sohn eines Flugzeugtechnikers geboren wurde, begann als 14-jähriger bereits mit einer kameratechnischen Ausbildung. -
Équinoxe Screenwriters' Workshop / Palais Schwarzenberg, Vienna 31
25. éQuinoxe Screenwriters’ Workshop / 31. October – 06. November 2005 Palais Schwarzenberg, Vienna ADVISORS THE SELECTED WRITERS THE SELECTED SCRIPTS DIE AUSGEWÄHLTEN DIE AUSGEWÄHLTEN AUTOREN DREHBÜCHER Dev BENEGAL (India) Lois AINSLIE (Great Britain) A Far Better Thing Yves DESCHAMPS (France) Andrea Maria DUSL (Austria) Channel 8 Florian FLICKER (Austria) Peter HOWEY (Great Britain) Czech Made James V. HART (USA) Oliver KEIDEL (Germany) Dr. Alemán Hannah HOLLINGER (Germany) Paul KIEFFER (Luxembourg) Arabian Nights David KEATING (Ireland) Jean-Louis LAVAL (France) Reclaimed Justice Danny KRAUSZ (Austria) Piotrek MULARUK (Poland) Yuma Susan B. LANDAU (USA) Gabriele NEUDECKER (Austria) ...Then I Started Killing God Marcia NASATIR (USA) Dominique STANDAERT (Belgium) Wonderful Eric PLESKOW (Austria / USA) Hans WEINGARTNER (Austria) Code 82 Lorenzo SEMPLE (USA) Martin SHERMAN (Great Britain) 2 25. éQuinoxe Screenwriters‘ Workshop / 31. October - 06. November 2005 Palais Schwarzenberg, Vienna: TABLE OF CONTENTS / INHALT Foreword 4 The Selected Writers 30 - 31 Lois AINSLIE (Great Britain) – A FAR BETTER THING 32 The Story of éQuinoxe / To Be Continued 5 Andrea Maria DUSL (Austria) – CHANNEL 8 33 Peter HOWEY (Great Britain) – CZECH MADE 34 Interview with Noëlle Deschamps 8 Oliver KEIDEL (Germany) – DR. ALEMÁN 35 Paul KIEFFER (Luxembourg) – ARABIAN NIGHTS 36 From Script to Screen: 1993 – 2005 12 Jean Louis LAVAL (France) – RECLAIMED JUSTICE 37 Piotrek MULARUK (Poland) – YUMA 38 25. éQuinoxe Screenwriters‘ Workshop Gabriele NEUDECKER (Austria) – ... TEHN I STARTED KILLING GOD 39 The Advisors 16 Dominique STANDAERT (Belgium) – WONDERFUL 40 Dev BENEGAL (India) 17 Hans WEINGARTNER (Austria) – CODE 82 41 Yves DESCHAMPS (France) 18 Florian FLICKER (Austria) 19 Special Sessions / Media Lawyer Dr. Stefan Rüll 42 Jim HART (USA) 20 Master Classes / Documentary Filmmakers 44 Hannah HOLLINGER (Germany) 21 David KEATING (Ireland) 22 The Global éQuinoxe Network: The Correspondents 46 Danny KRAUSZ (Austria) 23 Susan B. -
“Amerika Gibt's Überhaupt Nicht”: Notes on the German Heritage Film
“Amerika gibt’s überhaupt nicht”: Notes on the German Heritage Film Lutz Koepnick The mid-1980s saw the emergence of what Andrew Higson has called the British heritage ‹lm, a cycle of period pieces whose central plea- sures lay in “the artful and spectacular projection of an elite, conserva- tive vision of the national past.”1 As de‹ned by Higson, the heritage ‹lm avoided the stylistic signatures of the European art ‹lm yet often explored literary sources and domestic cultural traditions as marks of authenticity. Heritage ‹lms privileged mise-en-scène over narrative development, ›uid camera moves over fast cutting, self-conscious panorama shots over close-ups. Concerned with character, place, and atmospheric detail rather than goal-oriented action, the British her- itage ‹lms of the 1980s reproduced English history as a museal object of identi‹cation, consumption, and exportability. In the United States, these ‹lms—e.g., Another Country (1984), A Room with a View (1985), A Passage to India (1985), and Little Dorrit (1987)—were shown pri- marily in art house theaters. In their European context, however, they represented a new cinema of high production values and popular appeal that aspired to supplement, rather than challenge, the dominant role of Hollywood on the global market. However conservative in outlook, the British heritage ‹lm evi- denced a dialectic of rei‹cation and utopia that Fredric Jameson locates in all works of modern mass culture, namely, the fact that even when their function lies in the legitimation of the present order these works “cannot do their job without de›ecting in the latter’s service the deepest and most fundamental hopes and fantasies of the collectivity, to which they can therefore, no matter in how distorted a fashion, be found to have given voice.”2 British heritage ‹lms of the 1980s served as both a complement and a corrective to Margaret Thatcher’s neolib- eral call for universal entrepreneurship. -
Comedian Harmonists Bianca Rosenthal California Polytechnic State University - San Luis Obispo, [email protected]
Moebius Volume 3 Article 7 Issue 1 Movies in Mind 4-1-2005 Comedian Harmonists Bianca Rosenthal California Polytechnic State University - San Luis Obispo, [email protected] Follow this and additional works at: http://digitalcommons.calpoly.edu/moebius Recommended Citation Rosenthal, Bianca (2005) "Comedian Harmonists," Moebius: Vol. 3: Iss. 1, Article 7. Available at: http://digitalcommons.calpoly.edu/moebius/vol3/iss1/7 This Essay and Article is brought to you for free and open access by the College of Liberal Arts at DigitalCommons@CalPoly. It has been accepted for inclusion in Moebius by an authorized administrator of DigitalCommons@CalPoly. For more information, please contact [email protected]. Rosenthal: Comedian Harmonists COMEDIAN HARMONISTS Bianca Rosenthal Berlin 1927: Unemployment, economic depression, and the mounting persecution of Jews and others prevail. The Jewish acting student Harry Frommermann wants to start a male A-capella group similar to the American Revellers. Robert Biberti, an incompa rable bass accepted the invitation, followed by four, up to that point, rather unsuccess ful artists: the tenor and women's idol Ari Leschnikoff, the elegant counter tenor Erich Abraham Collin, the introvert Polish baritone Roman Cycowski, and the pianist Erwin Bootz. The group of six experienced a phenomenal career that included radio and film per formances as well as travels to many countries. However, beginning in 1934, the singing style of the ensemble was labelled "Jewish-Marxist" according to Nazi cultural tenets. With three Jewish members in the group, they were forbidden to perform in Germany. At the same time, old conflicts within the group resurfaced, the breakup was unavoidable. -
Titel Kino 1 2000, Endversion
EXPORT-UNION OF GERMAN CINEMA 1/2000 GERMAN MASTERS Schlöndorff, Thome and Wenders in Competition at the Berlin International Film Festival Special Report SELLING GERMAN FILMS Spotlight on GERMAN TV-MARKETS Kino Scene from:“THE MILLION DOLLAR HOTEL” Thanks to our national and international customers subtitling film video dvd 10 years of Film und Video Untertitelung dubbing post-production 10 years of high-quality subtitles editing telecine 10% reduction on our regular prices standard conversion video transfer inspection of material during 10 celebratory months graphic design from 10 July 1999 to 10 May 2000 dvd mastering you will see the difference www.untertitelung.de [email protected] tel.: +49-2205/9211-0 fax: +49-2205/9211-99 www. german- cinema. de/ INFORMATION ON GERMAN FILMS. now with links to international festivals! Export-Union des Deutschen Films GmbH Tuerkenstrasse 93 · D-80799 München · phone +49-89-39 00 95 · fax +49-89-39 52 23 · email: [email protected] KINO 1/2000 6 Selling German Films 25 In Competition at Berlin Special Report 25 The Million Dollar Hotel 10 Opening Reality OPENING FILM Wim Wenders For Illusions 26 Paradiso – Sieben Tage mit Portrait of Director Sherry Hormann sieben Frauen PARADISO 11 ”I Sold My Soul To Rudolf Thome The Cinema“ 27 Die Stille nach dem Schuss Portrait of Director Tom Tykwer RITA’S LEGENDS Volker Schlöndorff 12 Purveyors Of Excellence Cologne Conference 13 German TV Fare Going Like Hot Cakes German Screenings 15 A Winning Combination Hager Moss Film 16 KINO news 28 German -
German Films Quarterly 2 · 2004
German Films Quarterly 2 · 2004 AT CANNES In Competition DIE FETTEN JAHRE SIND VORBEI by Hans Weingartner FULFILLING EXPECTATIONS Interview with new FFA CEO Peter Dinges GERMAN FILM AWARD … and the nominees are … SPECIAL REPORT 50 Years Export-Union of German Cinema German Films and IN THE OFFICIAL PROGRAM OF THE In Competition In Competition (shorts) In Competition Out of Competition Die Fetten Der Tropical Salvador Jahre sind Schwimmer Malady Allende vorbei The Swimmer by Apichatpong by Patricio Guzman by Klaus Huettmann Weerasethakul The Edukators German co-producer: by Hans Weingartner Producer: German co-producer: CV Films/Berlin B & T Film/Berlin Thoke + Moebius Film/Berlin German producer: World Sales: y3/Berlin Celluloid Dreams/Paris World Sales: Celluloid Dreams/Paris Credits not contractual Co-Productions Cannes Film Festival Un Certain Regard Un Certain Regard Un Certain Regard Directors’ Fortnight Marseille Hotel Whisky Charlotte by Angela Schanelec by Jessica Hausner by Juan Pablo Rebella by Ulrike von Ribbeck & Pablo Stoll Producer: German co-producer: Producer: Schramm Film/Berlin Essential Film/Berlin German co-producer: Deutsche Film- & Fernseh- World Sales: Pandora Film/Cologne akademie (dffb)/Berlin The Coproduction Office/Paris World Sales: Bavaria Film International/ Geiselgasteig german films quarterly 2/2004 6 focus on 50 YEARS EXPORT-UNION OF GERMAN CINEMA 22 interview with Peter Dinges FULFILLING EXPECTATIONS directors’ portraits 24 THE VISIONARY A portrait of Achim von Borries 25 RISKING GREAT EMOTIONS A portrait of Vanessa Jopp 28 producers’ portrait FILMMAKING SHOULD BE FUN A portrait of Avista Film 30 actor’s portrait BORN TO ACT A portrait of Moritz Bleibtreu 32 news in production 38 BERGKRISTALL ROCK CRYSTAL Joseph Vilsmaier 38 DAS BLUT DER TEMPLER THE BLOOD OF THE TEMPLARS Florian Baxmeyer 39 BRUDERMORD FRATRICIDE Yilmaz Arslan 40 DIE DALTONS VS. -
Hindenburg - the Last Flight
MIPCOM 2010 Line-Up Booth R31.01A Phone: +33 (0) 4 92 99 88 53 www.betafilm.com Visit our Screeningroom! Miniseries (2 x two hours, HD) Hindenburg - The Last Flight An awe-inspiring airship. A murderous conspiracy. A devastating catastrophe. Frankfurt, May 1937. The Hindenburg, the world's largest airship, is getting ready to fly to New York. A vehicle of staggering dimensions, it is the pride of Nazi Germany. But it has one serious flaw: due to an American embargo preventing the sale of helium to Germany, the Hindenburg is filled with highly combustible hydrogen gas instead. To Merten Kröger, an engineer who helped design the Hindenburg, the ship is a stick of dynamite waiting for a spark. The young man of great charm but modest means has fallen in love with the wealthy Jennifer van Zandt, the daughter of an American industrialist who wants to sell helium to the Germans. Just before the ship takes off, Merten learns how far the industrialist will go: he has had a bomb placed on the airship. What van Zandt didn't know is that his wife and daughter would be on board. Merten sneaks aboard the airship without a minute to spare. The young couple is reunited, and despite the great difference in class and social status between them, Jennifer, too, avows her love for Merten. He tells her of the bomb hidden somewhere on the airship. But there is little time for explanations, since Merten must flee: he is being sought for a murder he says he did not commit. -
Quarterly 4 · 2004
German Films Quarterly 4 · 2004 DOWNFALL by Oliver Hirschbiegel Competes for the OSCAR DIRECTORS’ PORTRAITS Dagmar Knoepfel & Oskar Roehler PRODUCERS' PORTRAIT Moneypenny Fosters New Talents SPECIAL REPORT German Films: Redefining the Role of Film Promotion Abroad german films quarterly 4/2004 focus on 4 GERMAN FILMS directors’ portraits 10 TRILOGY OF FEMININE STRENGTH A portrait of Dagmar Knoepfel 12 LEARNING TO LOVE LIFE A portrait of Oskar Roehler producers’ portrait 14 FOSTERING NEW TALENTS A portrait of Moneypenny Film actress’ portrait 16 TYPICAL GEMINI A portrait of Sibel Kekilli 18 news in production 22 CROSSING THE BRIDGE Fatih Akin 22 ERKAN & STEFAN III, FETTES MERCI FUER DIE LEICHE Michael Karen 23 GISELA Isabelle Stever 24 DIE HEXEN VOM PRENZLAUER BERG Diethard Kuester 24 ICH BIN EIN MOERDER Bernd Boehlich 25 KEIN HIMMEL UEBER AFRIKA Roland Suso Richter 26 MAX UND MORITZ Thomas Frydetzki 26 NVA Leander Haussmann 27 DER ROTE KAKADU Dominik Graf 28 DER SCHATZ DER WEISSEN FALKEN Christian Zuebert 28 SEHNSUCHT Valeska Grisebach 29 DIE WILDEN KERLE 2 Joachim Masannek new german films 30 24-7-365 Roland Reber 31 AUS DER TIEFE DES RAUMES Gil Mehmert 32 BERGKRISTALL ROCK CRYSTAL Joseph Vilsmaier 33 BIBI BLOCKSBERG UND DAS GEHEIMNIS DER BLAUEN EULEN BIBI BLOCKSBERG AND THE SECRET OF THE BLUE OWLS Franziska Buch 34 COWGIRL Mark Schlichter 35 ERBSEN AUF HALB 6 PEAS ON HALF PAST FIVE Lars Buechel 36 GOODBYE Steve Hudson 37 JENA PARADIES Marco Mittelstaedt 38 KAETHCHENS TRAUM Juergen Flimm 39 KATZE IM SACK LET THE CAT OUT OF THE BAG Florian -
DVD-Liste SPIELFILME
DVD-Liste Der Bibliothek des Goethe-Instituts Krakau SPIELFILME Abgebrannt / [Darsteller:] Maryam Zaree, Tilla Kratochwil, Lukas Steltner... Regie & Buch: Verena S. Freytag. Kamera: Ali Olcay Gözkaya. Musik: Roland Satterwhite Frankfurt: PFMedia, 2012.- Bildtonträger.- 1 DVD-Video (Ländercode 0, 103 Min.) : farb. Sprache: dt. - Untertitel: engl., franz.- FSK-Freigabe ab 12 Jahren. - Spielfilm. Deutschland. 2010 The Adventures of Werner Holt / Darsteller: Klaus-Peter Thiele, Manfred Karge, Arno Wyzniewski ... Kamera: Rolf Sohre. Musik: Gerhard Wohlgemuth. Drehbuch: Claus Küchenmeister... Regie: Joachim Kunert. [Nach dem Roman von Dieter Noll] - 1 DVD (163 Min.) : s/w. Dolby digital EST: Die@Abenteuer des Werner Holt <dt.> Sprache: dt. - Untertitel: eng. - Extras: Biografien und Filmografien. - Spielfilm, Literaturverfilmung. DDR. 1964 Abfallprodukte der Liebe / Ein Film von Werner Schroeter. Mit Anita Cerquetti, Martha Mödl, Rita Gorr... Berlin: Filmgalerie 451, 2009.- Bildtonträger.- 1 DVD Abschied : Brechts letzter Sommer / Josef Bierbichler, Monika Bleibtreu, Elfriede Irrall ... Buch: Klaus Pohl. Kamera: Edward KÚosiõski. Musik: John Cale. Regie: Jan Schütte München: Goethe-Institut e.V., 2013.- Bildtonträger.- 1 DVD (PAL, Ländercode-frei, 88 Min.) : farb., DD 2.0 Stereo Sprache: dt. - Untertitel: dt., engl., span., franz., port.. - Spielfilm. Deutschland. 2000 Absolute Giganten / ein Film von Sebastian Schipper. [Darst.]: Frank Giering, Florian Lukas, Antoine Monot, Julia Hummer. Kamera: Frank Griebe. Musik: The Notwist. Drehbuch und Regie: Sebastian Schipper Notwist München: Goethe-Institut e.V., 2012.- Bildtonträger.- 1 DVD (PAL, Ländercode-frei, 81 Min.) : farb., DD 2.0 Sprache: dt. - Untertitel: dt., span., port., engl., franz., ital., indo.. - Spielfilm. Deutschland. 1999 Absurdistan / ein Film von Veit Helmer. Mit: Maximilian Mauff, Kristýna MaléÂová und Schauspielern aus 18 Ländern. -
The End of Imperialism Was the Birth of Nationalism, a Wave of Rising
New German Identity: Reworking the Past and Defining the Present in Contemporary German Cinema Constance McCarney Dr. Robert Gregg Spring 2008 General University Honors McCarney 2 The end of imperialism was the birth of nationalism, a wave of rising consciousness that swept over the conquered areas of the world and brought them to their feet with a defiant cry, “We are a Nation!” These new nations, almost all multiethnic states, struggled in defining themselves, found themselves locked in civil wars over what the citizen of this nation looked like and who s/he was. The old nations, locked in a Cold War, looked on, confident in their own national cohesion and unity. But the end of the Cold War proved to be the birth of complicated new identity concerns for Europe. Yugoslavia splintered in terrible ethnic conflict. France rioted over the expression of religious affiliation. Germany tried desperately to salvage the hope that brought down the Wall and stitch itself back together. For Germany the main questions of identity linger, not only who is a German, but what does it mean to be German? In the aftermath of the great upheavals in Germany’s recent past, the Second World War and the fall of the Third Reich, German films did their best to ignore these questions of identity and the complications of the past. But in the late 1960s and throughout the 1970s, a New German Cinema arose that sought to work through the complex issues of West Germany: the legacy of the Nazi Past, American occupation, the Berlin Wall and divided Germany, the radicalism of the time period in a global context, and the civil rights movements, particularly the women’s movement. -
Margarethe Von Trotta Producer
Vision – Aus dem Leben der Hildegard von Bingen When discussing her visions, it is important to note that she was not a learned woman. Coupled with the fact that women were not Director: Margarethe von Trotta permitted to preach, teach, or interpret scripture at the time, Producer: Hengameh Panahi Hildegard was met with disbelief and eyebrow-raised skepticism Cinematography: Axel Block when the credibility of these visions was questioned. She shrewdly Screenplay: Margarethe von Trotta used her educational handicap to legitimize her visions – stating Original Music: Christian Heyne, Hildegard von Bingen that it was God who allowed her to interpret scripture and criticize Running Time: 110 minutes the present beyond normal comprehension. She wrote, “I have Cast: Barbara Sukowa (Hildegard), Heino Ferch learned to fear more the judgment of God should I, God’s small (Volmar), Hannah Herzsprung (Richardis von creature, keep silent”. Stade), Gerald Alexander Held (Abbot Kuno), Hildegard also took ill before her visions. Oftentimes, she was Lena Stolze (Jutta) bedridden, immobile, and in a cataleptic state. She spoke of her Notes and Commentary by Sharan Knoell womb convulsing and was no longer able to see or move. Upon receiving a vision, she often sprang from her bed and paced, not “Ich bin eine schwache Frau”... being able to speak. Without the benefit of modern medicine, the is perhaps the biggest misnomer Hildegard von Bingen could have physical ailment also added to the credibility of her illuminations from God. ever attributed to herself. She did not label herself as such for self-placating or manipulatory purposes. Instead, she embraced In the struggle between religion and science, in which one is her deference to Christ and the Benedictine order without constantly trying to decry the other, modern-day British pontificating on any other means of vocation.