ters by Lynn Barker and Robert Skotak (214–30), Andrew J. Horton (166–77) and Vlad Strukov (306–27) on Pavel Klushantsev, Aelita and the Night Watch trilogy respectively provide an insight into the heterogeneity, interpretative richness and theoretical relevance of Soviet and post-Soviet cinematic approaches to science fiction. The volume focuses on a very broad time period, providing references to numerous important works and authors. At the same time, its grand scale, covering over a century and two media (film and literature), presents a certain limitation. While cementing the significance of certain influential figures (e.g. Evgenii Zamiatin, Tarkovskii, the brothers Arkadii and Boris Strugatskii) and concepts, it unavoidably neglects a few equally interesting developments in the area, such as the evolution and developments in identity politics exhibited by Soviet cinema and re-appropriated in post-Soviet productions in the sci-fi genre, as well as the structural relations between film, literature and other popular cultural media. Bearing in mind that this reader is the first comprehensive volume of its kind, this observation should be considered as an enthusiastic appeal for a sequel.

中文翻译：

---

苏联/俄罗斯电影的断裂和连续性：苏联解体前后的风格、人物和流派

Lynn Barker 和 Robert Skotak (214–30)、Andrew J. Horton (166–77) 和 Vlad Strukov (306–27) 分别对 Pavel Klushantsev、Aelita 和 Night Watch 三部曲提供了对异质性、解释丰富性的洞察苏联和后苏联电影方法对科幻小说的理论相关性。该卷侧重于一个非常广泛的时期，提供了许多重要作品和作者的参考。同时，它的规模宏大，涵盖了一个多世纪和两种媒体（电影和文学），呈现出一定的局限性。在巩固某些有影响力的人物（例如 Evgenii Zamiatin、Tarkovskii、Arkadii 和 Boris Strugatskii 兄弟）和概念的重要性的同时，它不可避免地忽略了该地区一些同样有趣的发展，例如苏联电影所展示的身份政治的演变和发展，以及在后苏联科幻作品中重新使用的身份政治，以及电影、文学和其他流行文化媒体之间的结构关系。请记住，该读者是同类中的第一本综合卷，这种观察应被视为对续集的热情呼吁。