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 Potters Fantastic World: Linguistic and
Cultural Transfer in a Subtitled Childrens Film
2.1 Aim of the Chapter
2.2 Why Harry Potter and Sorcerers 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 Thatchers 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 Joness Fantasy World: The Transfer
of Sexuality and Gender in a Chick Flick
5.1 Introduction
5.2 Bridget Joness 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
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