ABSTRACT

Since the release of Giorgio Moroder’s restoration of Metropolis in 1984, paired with his electronic musical score, it has become increasingly popular for composers to create new scores for silent films. Some scholars credit new musical scores with introducing younger generations to silent cinema. However, other critics argue that new scores make silent films less authentic. F.W. Murnau’s Nosferatu: A Symphony of Horror was initially released with an orchestral score by Hans Erdmann. This original score is still regularly used to accompany Murnau’s film when it is screened today and is contained on the Eureka Video home media releases of Nosferatu that feature the 2013 F.W. Murnau Stiftung restoration of the film. In 1997, composer James Bernard created a new score to accompany Photoplay Productions’ remaster of Enno Patalas’ 1995 Nosferatu restoration, which has since been paired with the BFI DVD and Blu-Ray releases of Nosferatu. This article examines the effects that Erdmann’s and Bernard’s musical accompaniments have on implied sound in Murnau’s film in the two aforementioned editions of Nosferatu. In particular, I focus on how audible and inaudible sound can affect the audience’s reception of, and creative engagement with, Nosferatu.

摘要

自1984 年乔治·莫罗德 (Giorgio Moroder) 修复《大都会》(Metropolis)并搭配他的电子乐谱发行以来，作曲家为无声电影创作新乐谱的做法越来越受欢迎。一些学者认为新的乐谱将年轻一代引入无声电影。然而，其他评论家认为，新的配乐让无声电影变得不那么真实。FW Murnau 的Nosferatu: A Symphony of Horror最初由 Hans Erdmann 与管弦乐谱一起发行。当今天放映时，这个原始配乐仍然经常用于陪伴 Murnau 的电影，并包含在Nosferatu的 Eureka Video 家庭媒体发布中以 2013 年 FW Murnau Stiftung 修复的电影为特色。1997年，作曲家詹姆斯·伯纳德创造了一个新的分数陪影戏1995年制作恩诺·帕塔勒斯的新主人诺斯费拉图恢复，这已经被配对的BFI DVD和蓝光版本诺斯费拉图。本文研究了 Erdmann 和 Bernard 的音乐伴奏对上述两个Nosferatu版本中 Murnau 电影中隐含声音的影响。我特别关注可听和不可听的声音如何影响观众对Nosferatu的接受和创造性参与。