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<article article-type="research-article" dtd-version="1.3" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xml:lang="ru"><front><journal-meta><journal-id journal-id-type="publisher-id">vgik</journal-id><journal-title-group><journal-title xml:lang="ru">Вестник ВГИК</journal-title><trans-title-group xml:lang="en"><trans-title>Vestnik VGIK</trans-title></trans-title-group></journal-title-group><issn pub-type="ppub">2074-0832</issn><issn pub-type="epub">2713-2471</issn><publisher><publisher-name>ВГИК</publisher-name></publisher></journal-meta><article-meta><article-id custom-type="edn" pub-id-type="custom">yizdtg</article-id><article-id custom-type="elpub" pub-id-type="custom">vgik-91</article-id><article-categories><subj-group subj-group-type="heading"><subject>Research Article</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="ru"><subject>МИРОВОЙ КИНОПРОЦЕСС</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="en"><subject>WORLD CINEMA</subject></subj-group></article-categories><title-group><article-title>Итальянская экранизация повести «Собачье сердце» Михаила Булгакова</article-title><trans-title-group xml:lang="en"><trans-title>The Italian Version of “Heart of a Dog” by Mikhail Bulgakov</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author" corresp="yes"><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Захаров</surname><given-names>Д. В.</given-names></name><name name-style="western" xml:lang="en"><surname>Zakharov</surname><given-names>D. V.</given-names></name></name-alternatives><bio xml:lang="ru"><p>кандидат искусствоведения</p></bio><bio xml:lang="en"><p>PhD of Art, leading translator of the Foreign Film Laboratory</p></bio><xref ref-type="aff" rid="aff-1"/></contrib></contrib-group><aff xml:lang="en" id="aff-1"><institution>S.A. Gerasimov All-Russian State University of Cinematography</institution><country>Russian Federation</country></aff><pub-date pub-type="collection"><year>2022</year></pub-date><pub-date pub-type="epub"><day>26</day><month>03</month><year>2024</year></pub-date><volume>14</volume><issue>2(52)</issue><fpage>112</fpage><lpage>122</lpage><permissions><copyright-statement>Copyright &amp;#x00A9; Захаров Д.В., 2024</copyright-statement><copyright-year>2024</copyright-year><copyright-holder xml:lang="ru">Захаров Д.В.</copyright-holder><copyright-holder xml:lang="en">Zakharov D.V.</copyright-holder><license xml:lang="ru" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>Данная работа распространяется под лицензией Creative Commons Attribution 4.0.</license-p></license><license xml:lang="en" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>This work is licensed under a Creative Commons Attribution 4.0 License.</license-p></license></permissions><self-uri xlink:href="https://www.vestnik-vgik.com/jour/article/view/91">https://www.vestnik-vgik.com/jour/article/view/91</self-uri><abstract><p>В статье анализируется первая в истории мирового кино экранизация повести «Собачье сердце» Михаила Булгакова, созданная в 1976 году итальянским режиссером Альберто Латтуадой. Исследование во многом построено на соотнесении с известной, более поздней по времени, советской экранизацией Владимира Бортко (1988). Компаративный метод подчинен герменевтической оптике, уделяющей внимание социальному контексту, диктующему художникам выбор материала, видение проблемы и ее трактовку. В статье обосновывается причинная обусловленность обращения к булгаковской повести о русской революции в Италии во время «гражданской войны низкой интенсивности» 1970-х годов, а в СССР — в период перестройки второй половины 1980-х.</p></abstract><trans-abstract xml:lang="en"><p>Cultural history is by nature a continuous national and international dialogue. Thus, works by the Russian writer Mikhail Bulgakov feature original interpretations of certain motives from the writings of the English science fiction classic author Herbert Welles. In turn Bulgakov’s legacy gets newfound relevance in creative works by succeeding generations, including masters of film adaptation. To a large extent screen interpretations of literature are defined by the social hermeneutic horizon, that is by the prevailing sentiment in this or that society at a certain moment in time. It’s no coincidence that one of the best works of Soviet fiction, the dystopic satire “Heart of a Dog” turns out to be relevant in different countries at the time of social and political upheavals. First Bulgakov’s story is made into a film during the “low-level civil war” in Italy in the 70’s, and later in the Soviet Union during “perestroika” in the second half of the 80’s.Making use of hermeneutic and comparative methods the article analyses both adaptations — the one by the Italian director Alberto Lattuada in 1976 and the other made by the Soviet director Vladimir Bortko in 1988. The emphasis is made on Lattuada’s version as his works remain mostly outside the sphere of interest of cinema studies in Russia.The article confirms that in accordance with the spirit of the time Bortko basically reconstructs Bulgakov’s story whereas Lattuada prefers a rather unexpected angle. He keeps the story’s anti-revolution pathos. The adaptation is skeptical, at times sarcastic, about radical social engineering from “below”. At the same time the director introduces the basic idea of “The Island of Dr. Moreau” by Welles, i.e. the moral aspect of a scientific experiment. Creating a pathetic, even likable central character, “a person of little mark” Poligraf Poligrafovich Sharikov, Lattuada brings the story up to date, drawing attention to moral responsibility of contemporary science. The adaptation turns out to be especially relevant in view of the sharp rise in the interest in the issues of bioethics.</p></trans-abstract><kwd-group xml:lang="ru"><kwd>Михаил Булгаков</kwd><kwd>Альберто Латтуада</kwd><kwd>Владимир Бортко</kwd><kwd>экранизация</kwd><kwd>маленький человек</kwd><kwd>герменевтика</kwd></kwd-group><kwd-group xml:lang="en"><kwd>Mikhail Bulgakov</kwd><kwd>Alberto Lattuada</kwd><kwd>Vladimir Bortko</kwd><kwd>adaptation</kwd><kwd>a person of little mark</kwd><kwd>hermeneutics</kwd></kwd-group></article-meta></front><back><ref-list><title>References</title><ref id="cit1"><label>1</label><citation-alternatives><mixed-citation xml:lang="ru">Михальченко С.А. Экранизация рассказа. Учебное пособие М.: ВГИК, 2004. 72 с.</mixed-citation><mixed-citation xml:lang="en">Mihal'chenko S.A. (2004) Ekranizaciya rasskaza [Adaptation of a Short Story]. Uchebnoe posobie Moskva: VGIK, 2004. 72 p. 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Toronto: University of Toronto Press, 2002. 351 p.</mixed-citation></citation-alternatives></ref></ref-list><fn-group><fn fn-type="conflict"><p>The authors declare that there are no conflicts of interest present.</p></fn></fn-group></back></article>
