英语电影的中文字幕翻译过程涉及复杂而独特的语言和文化转换。本研究结合不同电影种类和多个交叉学科，对儿童电影、政治电影、女性电影、历史电影和喜剧电影的英译中字幕翻译展开个案研究，深刻揭示出翻译学和其他学科的共生特性。
本研究分析了官方的中文字幕翻译实践，审视了不同类型的电影所关联的英国文化的复杂性和独特性，审视了字幕翻译过程中中国文化，尤其是中国价值观的介入与融合。研究表明，在整个字幕翻译的动态变化发展过程中交织着多种形式和类别的转化，既有语言、文化、政治、历史、意识形态的转化，也有性别、性向和幽默的转换等。在英文电影的中文字幕翻译中，电影里的英国特性和作为翻译语境的中华文化都渗透其中。

梁丽丝 博士，中山大学国际翻译学院博士后，硕士生导师，毕业于英国卡迪夫大学现代语言学院，主攻影视传媒翻译专业。研究方向为视听翻译、影视文化外译和文化创意经济等。主持广东省人文社会科学重点研究基地广东外语外贸大学翻译学研究中心项目一项，参与国家级社科项目、教育部国际司委托项目和校级项目共四项。在New Voices of Translation Studies,Journal of Audiovisual Translation等重点核心期刊发表文章多篇，担任国际翻译期刊inTRAlinea评审专家。

List of Figures and Tables
List of Screen Shots
1. Introduction
1.1 Literature Review on Audiovisual Translation
1.1.1 A Brief History of Screen Translation in China
1.1.2 The Critical Landscape of Subtitling in China
1.2 Research Questions
1.3 Methodology
1.4 Overview of Theoretical Framework
1.4.1 Translation and Cultural Theories
1.4.2 Theoretical Model in Relation to the Categorisation of Examples
1.5 Main Contributions
1.6 Thesis Synopsis
2. Subtitling Harry Potter's Fantastic World: Linguistic and
Cultural Transfer in a Subtitled Children's Film
2.1 Aim of the Chapter
2.2 Why Harry Potter and Sorcerer's Stone?
2.3 Translation Strategies
2.4 Subtitling British Fantasy for Young Chinese Audiences
2.4.1 Scariness
2.4.2 Smallness
2.4.3 Flying
2.4.4 Aliveness
2.4.5 Magic
2.4.6 Corporeal Humour
2.4.7 Childlike Appellation
2.4.8 Other Made-up Names
2.5 Conclusion
3. Subtitling a Political Film: Linguistic and Ideological
Transfer in The Iron Lady (2011)
3.1 Aim of the Chapter
3.2 The Politics of Margaret Thatcher
3.3 Thatcher's Relationship with China
3.4 Why Release and Subtitle The Iron Lady in China
3.5 Reception of the Film in China
3.6 Theoretical Framework
3.7 Case Analysis
3.7.1 Metaphors of Household Management
3.7.2 Metaphors of Female Leadership
3.7.3 Metaphors of Terrorism and War
3.7.4 Metaphors Relating to Trade Unions
3.7.5 Bodily Metaphors
3.7.6 Metaphors Relating to Political Opponents
3.7.7 Translating Political Rhetoric
3.8 Conclusion
4. Subtitling a Historical Film: Cultural and Temporal
Transfer in Oliver Twist (2005)
4.1 Introduction
4.2 Oliver Twist in the British and Chinese Contexts
4.3 Why Oliver Twist?
4.4 Theoretical Framework
4.5 Case Analysis
4.5.1 Religious Terminology
4.5.2 Biblical Allusions
4.5.3 Social Conventions
4.5.4 Elements of the Victorian Era
4.6 Conclusion
5. Subtitling Bridget Jones's Fantasy World: The Transfer
of Sexuality and Gender in a Chick Flick
5.1 Introduction
5.2 Bridget Jones's Diary in the Chinese Context
5.3 Theoretical Framework
5.4 A Case Analysis: Transfer of Gender, Swearing and Sexuality
5.4.1 Swearing and Offensive Languages
5.4.2 Sex-Related Languages
5.4.3 Euphemism and Humour
5.4.4 Women, Food Products, Boyfriends and Clothes
5.5 Conclusion
6. Subtitling Comedy: The Transfer of Humour in the
Chinese Subtitles of Notting Hill (1999)
6.1 Introduction
6.2 Theoretical Framework
6.3 Notting Hill in the British and Chinese Contexts
6.4 Justification of the Case Study
6.5 Humour Translation in Notting Hill
6.5.1 Contextual Httmour
6.5.2 Contextually Cultural Humour
6.5.3 Contextually Linguistic Humour
6.5.4 Contextually Cultural and Linguistic Humour
6.6 Conclusion
7. Conclusion
7.1 Main Findings
7.2 Research Contribution
7.3 Possibilities for Future Research
7.4 Suggestions for Practice and Policy
References