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1、IntroductionSubtitlingtranslationhasundergonetheoreticaldevelopment.Inretrospect，theconstantlyevolvingpracticebothfacilitatesexperienceaccumulationandpresentschallengesthatcallforeffectivesolution.Thesubtitletranslationstudiesbeganwiththedevelopmentoffilmindustry,hightechnologyandglobalization.Ast
2、hefilmindustryisunquestionablybetterdevelopedinthewesternworld,especiallyinEuropeandtheUnitedStates,theamountoffilmishugeinEurope,andEuropescholarshavealsodonealotofresearches.Incontrasttodomesticliterarytranslationstudies，theresearchonmoviesubtitletranslationstartsquitelate,buttherearestillafewpi
3、oneerresearchworks,however,comparedwiththeresearchesinforeigncountries,therelatedinvestigationsinChinaarefarfrombeingsatisfactory.Notasingleworkcanbefoundthusfar,onlysomelimitedarticlesarepublishedinsomejournals.Generallyspeaking,theseworksaremainlyconcernedwithNida’sfunctionalequivalencetheoryand
4、YanFu’sprinciple.OwingtothefactthatEnglishhasbecomeoneofthemostpopularinternationalLanguages,Englishmoviesaredominatingoverotherforeignmoviesinquantity.However,themajorityofChinesepeoplejustknowalittleEnglishsothattheycannotenjoytheoriginalEnglish32moviesdirectly.Theyhavetowatchtranslatedmoviesinc
5、ludingdubbedmoviesandsubtitledmovies.Now,withtheimprovementoftheirartistictaste,moreandmoreChineseprefersubtitledmovieswithoriginalsoundtrackstodubbedmovieswhichwillsupplylessaudileenjoymentthantheformer.Asaresult,thesubtitletranslationhasdrawnpeople'sgreaterattentioninrecentyears,andmanytranslato
6、rsareworkingonthemoviesubtitletranslation.Translationisavitalmeansofcross-culturalcommunication,andthereforeitdeservestobeviewedfromtheculturalperspectives.Filmsareamongthemostinfluentialmediainthemodernworld,andeachfilmcarrieswithittheuniquefeaturesofthecultureinwhichitoriginates.Thoseculturalfea
7、turesarepartlyreflectedbythesubtitledfilm.Itsreceptionbycertainforeignaudienceinthetargetenvironmentanditsaudience'sresponsestothefilmsaretheprocessofcross-culturalcommunication.Whentranslatorsareapproachingthesu
