ABSTRACT Renata Litvinova’s first feature script Non-Love establishes a key feature of her writing: the conflict encapsulated in the heroine’s character. This is emphasised by the manner of the speech deployed by the scriptwriter. This article proposes a comparative analysis of the script and the film made by Valerii Rubinchik in 1991. The director’s interpretation leads to the reduction of dialogues and the heroine’s monologue; the introduction of a character-forming approach through the use of documentary footage of Marilyn Monroe; and a different interaction between the characters and the spectator than in Litvinova’s script. The filmmaker Rubinchik reconstructs the heroine, removing not only the conflict from within her, but also changing the genre. Drawing a parallel between the heroine and Monroe, who serves as a role model, the director narrows the problem that in the script is metaphysical to a melodramatic issue. The existential choice that the heroine faces in the script turns in the film into a choice between the two characters of a love triangle within conventions of the melodrama. The changes in the heroine’s idiosyncratic speech patterns rendering the inner conflicts are in line with genre conventions by emphasising the heroine’s infantilism.

中文翻译：

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从剧本到电影：Renata Litvinova 的《非爱》和 Valerii Rubinchik 的电影

摘要 Renata Litvinova 的第一部故事片《非爱》确立了她写作的一个关键特征：女主人公性格中蕴含的冲突。编剧采用的演讲方式强调了这一点。本文拟对Valerii Rubinchik 1991年制作的剧本和电影进行对比分析。导演的解读导致对话和女主角独白的减少；通过使用玛丽莲梦露的纪录片镜头引入角色塑造方法；角色和观众之间的互动与利特维诺娃的剧本不同。电影制作人 Rubinchik 重构了女主人公，不仅消除了她内心的冲突，还改变了类型。将女主人公和作为榜样的梦露进行比较，导演将剧本中形而上学的问题缩小为情节剧问题。女主人公在剧本中面临的生存选择在电影中变成了情节剧惯例下三角恋的两个角色之间的选择。女主人公特有的说话方式的变化，通过强调女主人公的幼稚，表现出内心的冲突，符合体裁惯例。