display powerful connections in terms of terminology, definitions, genre studies, and industrial contexts. Paul Coates’s essay, for instance, could have worked well as an introduction to the volume; Szepanik’s and Kunicki’s discussions of Eastern European versions of Westerns were also awkwardly separated. Moreover, the desired comparative approach could have been easily achieved by adding a few essays on the current broadly discussed film festival circuit, as briefly mentioned by one of the editors, Dorota Ostrowska. Overall, this volume accomplishes the goal of its editors and contributors, namely to provide ‘a closer look at popular film products within a region which, for too long, has been perceived as being on the political and cultural margins of the USSR, imperial Germany and, to some extent, of the Habsburg Empire’ (2). The 16 essays not only tackle important political, historical, and cultural aspects of popular genres such as comedy and parody, crime fiction and Westerns, melodrama and epic, they also successfully demonstrate that there was, indeed, a popular cinema in East Central Europe and it developed a clear dialogue with wellknown Hollywood traditions.

中文翻译：

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当代俄罗斯电视和电影中流行的身份比喻

在术语、定义、体裁研究和行业背景方面显示出强大的联系。例如，保罗·科茨 (Paul Coates) 的文章本可以很好地作为该卷的介绍；Szepanik 和 Kunicki 对东欧西部片的讨论也被尴尬地分开了。此外，正如其中一位编辑多罗塔·奥斯特罗斯卡 (Dorota Ostrowska) 所简要提到的，通过添加一些关于当前广泛讨论的电影节巡回赛的文章，可以轻松实现所需的比较方法。总体而言，本书实现了其编辑和撰稿人的目标，即“深入了解一个地区内的流行电影产品，该地区长期以来一直被认为处于苏联、德意志帝国的政治和文化边缘。并且，在某种程度上，是哈布斯堡帝国的”（2）。