Der Meister von Nürnberg is a silent film adaptation of Wagner’s Die Meistersinger von Nürnberg remembered chiefly for the protests it generated on its release in 1927. Several authors refer to it briefly in reception histories of Die Meistersinger, but the film has not yet attracted sustained attention either within Wagner scholarship or within literature on opera and film. Der Meister von Nürnberg is, however, an effective lens through which to examine sensitivities in opera’s relationship with film in 1920s Germany, as well as various ambiguities in Weimar-era film making and consumption. The film constitutes fascinating proof of the historically conditioned reverence for Wagner’s Die Meistersinger that existed within conservative opera criticism in 1920s Germany, while its ephemerality serves as a key to understanding several wider features of the Weimar cultural landscape. In this sense, the film exceeds curiosity status and emerges as a multivalent artefact of a complex, contradiction-ridden time.

中文翻译：

---

异化娱乐：路德维希·伯杰 (Ludwig Berger) 的歌手电影 Der Meister von Nürnberg (1927)

纽伦堡大师是瓦格纳的无声电影改编女歌手冯纽伦堡主要是因为它在 1927 年上映时引发的抗议。几位作者在女歌手，但无论是在瓦格纳的学术研究中，还是在歌剧和电影文学中，这部电影都没有引起持续的关注。纽伦堡大师然而，它是一个有效的镜头，通过它可以检验 1920 年代德国歌剧与电影关系的敏感性，以及魏玛时代电影制作和消费中的各种模糊性。这部电影构成了对瓦格纳的历史条件的崇敬的迷人证明女歌手它存在于 1920 年代德国的保守歌剧批评中，而它的短暂性是理解魏玛文化景观的几个更广泛特征的关键。从这个意义上说，这部电影超越了好奇的地位，成为一个复杂、充满矛盾的时代的多价人工制品。