.IntroductionThetranslationofthetitlesofEnglishmoviesisofgreatimportance.However,manypeoplepaymoreattentiontothetranslationofsubtitlesthantitles.Andthetitleofafilmislikeaperson'sfirstimpression,thefirstimpressionisgoodenoughtoletothershaveadeeperdesiretocontinuetounderstand,soifafilmhasagoodtitle,itisequivalenttohavingagold-letteredsignboard.Asthefirstimageandidentificationmarkofthefilm,thetitleplaysaveryimportantroleinthesuccessofthefilm.Nowadays,inordertopublicizeandpromotethefilmmarket,thetranslationoffilmtitlesdoesnotfocusontranslationequivalence,butstrivesforpopularityasfaraspossible.Transformingafilmtitlefromonelanguagetoanotherisafantasticre-creationprocess,whichrequirescarefulconceivingandhighlygeneralizationofthework,soastobeconcise,conciseandrichinconnotation.Therefore,itisnecessarytomakeadetailedanalysisandsystematicarrangementofthetranslationoffilmtitles.2.LiteratureReviewAsanimportantmeansofculturalexchangebetweenChinaandEnglish-speakingcountries,Englishmoviesrepresenttheculturalsoftpowerofvariouscountries.Asthefirstinformationthattheaudiencecangraspfromthemovies,Englishmovietitleswillcarryabundantculturalinformationoftheirowncountry.WhenEnglishfilmsareintroducedintoChina,inordertopromotetheunderstandingofChineseaudiences,thetranslationoffilmtitlesshouldalsobeintegratedintoChineseculture.Infact,“thisbi-culturalphenomenonstemsfromtheconflict,coordinationandintegrationbetweennativecultureandChinesecultureofEnglishmovies”(吳源,2007:68).Therefore,inordertotranslateEnglishfilmtitlesappropriately,weshouldnothaveonlyaprofoundunderstandingofourownculture,butalsohavearelativeunderstandingofthesourcecultureofthefilm.ThuswecantranslatethetitlesoftheEnglishmoviesrigorouslyandappropriately.SomeEnglishmoviesalsoinvolvesomereligiousmatters,whichreflectthecultureandreligionofEnglish-speakingcountries.Thesefactorsmustalsobetakenintoaccountwhentranslating.Itisnecessarytohighlighttheculturalbackgroundofthemoviesandgraspthetheme,ratherthantotranslatethemliterally.Generallyspeaking,“inviewofthedifferentculturalcharacteristicsofChinaandforeigncountries,thetranslationofEnglishfilmtitlesshouldtakefullaccountoftheculturalcharacteristicsofthecountryoforigin,aswellastheculturalneedsofitsaudience”(鄺新娟,2015:6).Onlybyfullyunderstandingtheconnotationofthesourcelanguageandcombiningthecultureassociatedwiththetargetlanguage,canthemostappropriatetitlebeperfectlytranslated.Asasymbolofthefilm,thetranslationoffilmtitlesshouldpayattentiontotheperfectcombinationofartistryandcommerciality,soastoarousetheaudience'spsychologicalidentity,stimulateaestheticpleasureandgeneratedesiretowatch.AccordingtoLiNanfang(2016),althoughthetranslationofEnglishfilmtitlesnowadaysinevitablyhasperfectexampleswithbothattributes,therearestillsomecommonproblemsinthewholemarketofEnglishfilmtitlestranslatedfromChinese,suchasthelackofnewideas,thelackofclassicaltranslation,theblindnessofbrandeffectandthestereotyping,whichleadtoabuse,andthelackofknowledge.Therearenumerousproblemsindifferentregions,suchastheinappropriatechoiceofthesametranslationnameduetoculturaldifferences.Therefore,inthefaceofthisseriesofproblems,IwillintroduceNida'sfunctionalequivalencetheorytomakeanin-depthstudyoftheChinesetranslationofEnglishfilmtitles,inordertoarriveatrelevantsolutionsandmakesomeimprovementsintheChinesetranslationofEnglishfilmtitles.ThefunctionalequivalencetheoryofEugeneNidahasagreatinfluenceonthetranslationcirclesinChina.Underthefunctionalequivalencetheory,thetranslationofEnglishfilmtitlescanalsoaspiretoachievetheunityofscienceandart.Itemphasizesthatthesourcelanguageandthetargetlanguageshouldbeequivalentnotonlyinlinguisticformbutalsoincontentandmeaning.AccordingtoMaXiaoting(2018),toreproducethesourcelanguageinformationandtranslationmethodsinthetargetlanguageandtoreproducethesourcelanguageinformationwiththenearestnaturalequivalenceshowthatthefunctionalequivalencetheoryisnotonlyatranslationtheory,butalsoatranslationstrategy,andtranslatorsneedtofocusoninformationratherthanstyleintheprocessoftranslation.Atpresent,thetraditional"equivalence"translationtheoryalonecannotfreefilmtitlesfromthebondageof"equivalence",norcanitexplainwhysomefilmtitlesviolatetheequivalencestandard,butithasbeenprovedtobeverysuccessfulinpractice.AccordingtoLiuHang(2018),translationmethodsshouldfirststartwiththepurposeoftheoriginaltextandfullyunderstandthemeaningofthetitleoftheoriginalfilm.Second,fromtheculturalbackgroundofthetargetlanguage,findanaccurateandmeaningfultargetlanguagecarrier.Last,properlyrespectthesuccessfultranslationtraditionofthesamegenreandthesametypeoffilminthepast.Sothatyoucanaccuratelyexpressandextendthemeaningoftheso-calledbestproblem.Tothisend,Nida'sfunctionaltranslationtheoryisintroducedtobreakawayfromthetraditionalequivalencetranslationtheory.Itisproposedthattranslationbehaviorisacomplexcross-culturalcommunicativeactivityinordertoachieveaspecificpurposeunderspecialcircumstances.Itisemphasizedthattranslationstrategiesandmethodsmustbedeterminedbytheintendedpurposeandfunctionofthetranslation.3.TheBasicConceptsoffunctionalequivalencetheory3.1FunctionalequivalencetheoryThetheoryoffunctionalequivalencewasproposedbyEugeneNida.Thecoreconceptofhistheoryisfunctionalequivalence.Inordertoprovideacriterionforthetransformationbetweenthesourcelanguageandthetargetlanguageandtoreducethedifferencesinexpressionbeforeandaftertranslation,EugeneA.Nida,fromthelinguisticpointofview,putsforwardthefamoustranslationtheoryof"dynamicequivalence",namely"functionalequivalence",accordingtothenatureoftranslation.(史慶右,2017:97)Theso-called"functionalequivalence"meansthattranslationdoesnotrequirerigidcorrespondenceonthesurfaceofthetext,buttoachievefunctionalequivalencebetweenthetwolanguages.3.2Nida’sdefinitionoftranslationNida'sdefinitionoftranslationindicatesthattranslationisnotonlyequivalenceinlexicalsense,butalsoequivalenceinsemantics,styleandliteraryform.Theinformationconveyedbytranslationincludesbothsurfacelexicalinformationanddeepculturalinformation.Theequivalenceindynamicequivalenceincludesfouraspects:1.lexicalequivalence,2.syntacticequivalence,3.textualequivalenceand4.stylisticequivalence.Amongthesefouraspects,Nidabelievesthat"meaningisthemostimportantandformisthesecond",becauseformislikelytohidetheculturalmeaningofthesourcelanguageandhinderculturalexchanges.3.3ThecharacteristicoffunctionalequivalencetheoryIftranslatedaccordingtotheliteralequivalencebetweenEnglishandChinese,theoriginalsentenceistranslatedas"Hethinksbyinfectionsandgetshisthoughtslikeacold",thusthetruemeaningoftheoriginaltextcannotbeclearlyexpressed.Infact,itisdifficulttofindasentencepatternthatiscompletelyequivalenttoEnglishtoexpressthesameconnotationinChinese.Therefore,thetranslatortransformsthedeepstructureofthesourcelanguageintothesurfacestructureofthetargetlanguage,thatis,todirectlyexplaintheconnotationofthesourcelanguagewiththecorrespondingvocabularyinthetargetlanguage,soastomakethetargetreadersmorereceptivetothetranslation.AccordingtoNida'stranslationtheory,thetreatmentofculturaldifferencesiscloselyrelatedtoreproducingthesourcelanguageinthetargetlanguagefromsemanticstostyle.Onlywhenthestyleandspiritofthesourcelanguagearereproducedfromthelinguisticformtotheculturalconnotationofthetranslatedtextcanitbecalledanexcellentwork.3.4ThreeprinciplesoffunctionalequivalencetheoryInNida'sfunctionalequivalencetheory,heemphasizesthatthetargetlanguagereceivershouldhavethesameresponsetotheoriginaltextasthesourcelanguagereceiver.Andmakethetargetlanguageasattractivetotheaudienceofthetargetmarketasthefilmmakersexpect.Therefore,thetranslationofEnglishfilmtitlesshouldfollowthefollowingprinciples:1.Respectforcontentandthematicprinciples.Filmtitletranslationneedstohighlightthecontentofthefilm,conveythematicinformationandestablishtheemotionalcolorofthefilm.Thisprincipleisthekeytofilmtitletranslation,otherwisethetranslatedtitlewilleasilymisleadtheaudience.Forexample,TheThirdMancaneasilybemisinterpretedliterally.Infact,byunderstandingthecontentofthetitle,weshouldknowthattheaccuratetranslationhereisthethirdwitness.2.Payattentiontotheprincipleofculturaldifferences.Cultureisthewholeofbeliefandpracticeinasociety.Asapopularart,filmisasocialproductofculturalphenomenaandideologicaltrends.Therefore,culturalfactorsshouldbecarefullyconsideredsothattheculturalvalueofthetitlecanbewellreflectedinthetargettext.3.Payattentiontotheprinciplesofsimplicity,noveltyandimagination.Goodmovietitlescanarouseimaginationandstimulateviewers'desire.Toarousethecuriosityoftheaudience,weshoulddealwiththetitleofthefilminsomeappropriatetranslationways.3.5ThreestepsoffunctionalequivalencetheoryInordertoaccuratelyreproducethesourcecultureandeliminateculturaldifferences,translatorscanfollowthefollowingthreesteps.Firstly,effortsshouldbemadetocreatetranslationsthatconformtoboththesemanticsofthesourcetextandtheculturalcharacteristicsofthesourcetext.However,thetwolanguagesrepresenttwodifferentcultures,andculturesmayhavesimilarfactors,buttheymaynotbeidentical.Therefore,itisimpossibleforaperfecttranslationworktofullydisplaytheculturalconnotationoftheoriginaltext,andthetranslatorcanonlyreproducethesourceculturetothemaximumextent.Secondly,ifbothmeaningandculturecannotbetakenintoaccount,thetranslatorhastoabandonformalequivalenceandachievethegoalofreproducingthesemanticsandcultureofthesourcetextbychangingtheformofthesourcetext.Thirdly,ifthechangeofformisstillinsufficienttoexpressthesemanticsandcultureoftheoriginaltext,thetranslationtechniqueof"heavydamage"canbeusedtosolvetheculturaldifferencessoastoachievetheequivalenceofthesourcelanguageandthetargetlanguageinmeaning."Heavydamage"referstothetransformationofthedeepstructureofthesourcelanguageintothesurfacestructureofthetargetlanguage,i.e.theculturalconnotationsofthesourcelanguagearticlesareexplainedandexplainedintermsofthetranslatedwords.4.Current

Situation

of

English

Film

Title

Translation4.1The

summary

of

existing

translation

methodsGenerallyspeaking,therearethreetranslationstrategies:literaltranslation,freetranslationandvariationtranslation.Liketransliteration,augmentation,subtraction,annotationareallbasedonthesethreekindsofmoredetaileddivision.4.2The

classification

and

analysis

withexamples1.Literaltranslation,asitsnameimplies,refersdirectlytothetranslationofsentencesaccordingtotheircomponents.Thiskindoftranslationcanbesaidtobestaticequivalenttranslation,whichtendstoretainthecomponents,structuresandsentencepatternsoftheoriginaltext.Itmaximizestheretentionoftheoriginalfilmtitle,sothatthetranslationandtheoriginaltextachieveahighdegreeofunity.LikeIndependenceDay（《獨(dú)立日》）,AntMan（《蟻人》）,BeautyandBeast（《美女與野獸》）,TheSoundofMusic（《音樂(lè)之聲》）,RomanHoliday（《羅馬假日》）...andsoon.Literaltranslationisthetranslationmethodadoptedinmostmovietitlestranslation.Itsadvantagesarethemostconvenient,effectiveandintuitive,whichreflectstherespectandrecognitionoftheoriginaltext.Thusitcanbeseen,literaltranslationisliteralandverbatimtranslation,whichbelongstostaticequivalenceinfunctionalequivalence.Staticequivalenceinliteraltranslationisrelativelysimple,andwhatweneedtodoatthispointistoidentifywhichmovietitlescanbeliterallytranslatedandsuitableforliteraltranslation,andatthesametime,itwillnotaffectcommercialpublicity.ManyEnglishfilmtitlesusespecificnamesofpeople,places,timeandpropernouns.Inthiscase,theycanbetranslatedliterally.TransliterationisamethodofliteraltranslationifthereisnoequivalentwordinChinese.2.Freetranslation.Intheprocessoftranslatingmovietitles,filmtitlesoftencontainuniqueculturalconnotationsbecauseofthegreatculturaldifferencesbetweendifferentcountries.Itisdifficulttoachieveculturalequivalenceintranslationwhenliteraltranslationisused.Itisdifficulttomakepeopleindifferentculturesfeelthesamecontent,andthelinguisticcharacteristicsoftheoriginaltextwillbelost.Successfulfreetranslationoffilmtitlescanmakepeoplefeelthebeautyofthetransformationbetweendifferentlanguages.SuchasWaterlooBridge（《魂斷藍(lán)橋》）,Ghost（《人鬼情未了》）,Leon（《那個(gè)殺手不太冷》）,HomeAlone（《小鬼當(dāng)家》）,Gonewiththewind（《亂世佳人》）,Twilight（《暮光之城》）…andsoon.MosttranslationsofEnglishfilmtitlesofthiskindhasmadecorrespondingchangestoshowthemainplotandmaketheplotfitthecultureofthetargetcountry,soastomakethetranslationmorevividandinteresting.ImagineifLeonistranslatedinto‘《里昂》’,manypeoplemaythinkthatthefilmisanautobiographyofapersonnamedLeon,whichmakespeoplefeelthatitisjustadullautobiographicalfilm.FreetranslationneedstotakethemeaningoftheoriginaltextandthefeelingsofChineseaudiencesintoaccount,andmakeappropriatechangestotheoriginaltitleofthefilm,eventomakethetranslationcompletelyunrelatedtotheoriginaltextinliteralmeaning,butitseffectonculturalequivalenceisenormous,whichcansatisfytheaestheticdesireofChineseaudiencesandstimulatetheirenthusiasm,whichisveryimportantforafilm.Dynamicequivalenceinfreetranslationisdifficulttograsp.Weneedtodistinguishthefilmnamesthatneedtobetranslatedfreely,whichrequiresusnotonlytobefamiliarwiththecultureoftherelevantEnglishlanguagecountriesandChineseculture,butalsotohaveacertainunderstandingofthefilmcontent,andthenchoosedifferentlanguagecontenttoachievefunctionalequivalenceinculturalexpression.Forexample,thetranslationofthefilmLolita(《一樹(shù)梨花壓海棠》)hasbeenverysuccessfulinthisrespect.Itisastoryoflovebetweentheoldandtheyoung.ThefilmwasproducedbyRussianAmericanwriterNabokov.ThetranslationisbasedontheridiculousverseofSuShi,apoetoftheSongDynastyofChina,aboutafriendwhohadcometotakeconcubineatanoldage:"Eighteenbride,eightyman,palehairandredmakeup,thenightpairedinmandarinduckquilt,atreeofpearflowerspressedcrabapple"."PearFlower"meanstheoldman'swhitehair,and"Begonia"meanshisbrightyoungwife.Later,"atreeofpearflowerspressedBegonia"becametheeuphemismof"oldcowseattendergrass".TheTitleskillfullycombinesclassicalChinesepoetrywiththethemeofthefilm,whichnotonlyconveysthecontentofthefilmvividly,butalsocreatesanelegantartisticconceptionforChineseaudiences.Itisworthyofbeingafineproductincross-culturaltranslation.Culturedifferencesincludemanyaspects,suchashabitsandreligiousbeliefs.English-speakingcountriesmostbelieveinChristianityorCatholicism,whileChinabelievesinBuddhism.Therefore,someEnglishmoviesinvolvereligiousmatters,whichshouldbetakenintoaccountintranslation.Onlyifwehighlighttheculturalbackgroundandgraspthethemeatthesametimecanwereachdynamicequivalenceinculturalfield.Anotherexample,thefilmSeven,starringBradPittandwinninganOscar,wasnottranslateddirectlyinto《七》,butinto《七宗罪》accordingtoitscontentandreligiousculture.Inwesternreligiousstories,theSevenarethesevenmajordeathcrimesofCatholicismandthecommonmistakesofpeople.Wecanseethecontentsinthemovie.Andsevenisalsoamysteriousnumberinreligion.IttooksevendaysforGodtocreatethingsandsevendaystocreateAdam.Ifweunderstandthesewesterncultures,thetranslatedtitleswillhighlightthethememoreonthebasisoftheappropriatecontentofthefilm.3.Variationtranslation.EnglishandChinesearetwodifferentlanguageexpressions.Whenthetwolanguagesaretransformed,theycanbeaddedorsubtractedappropriately.AccordingtotheEnglishexpression,somestructuralpatternscanonlyexpressthemeaningbutcan’tfullyembodythestructure.Atthistime,wecanadoptthetranslationstrategyofvariationtopromotetheconsistencyofEnglishandChineseexpressionsandmaketheoriginalmeaningclearer.Butthisincreaseordecreasealsoneedstofollowcertainprinciplesandbasis.Forexample,SandandBlood(《碧血黃沙》),Earthquake（《驚魂奪命》）,ForrestGump（《阿甘正傳》）andsoon.Somescholarsthinkthatfreetranslationisthesamethingasvariationtranslation.Actuallydifferencestillremainsbetweenthem.Variationtranslationmainlyreferstotheconversionofpartofspeech,sentencepattern,positiveandnegativeexpressionswhilefreetranslationisunrestricted.Themosteasilydistinguishedfeatureisthatthetranslatedversionandtheoriginaltextarecasual,mutuallybasedandcanbecomparedintuitively.TakeForrestGumpasanexample,youcanfindtheword‘阿甘’inChinesetranslationcorrespondingtotheword‘Gump’inEnglishoriginaltext.Unlikefreetranslation,variationtranslationcan’tbereplacedbyotherwords,butonlyusewordswiththesamemeaningintermsofsemanticexpressions.Variationtranslationfocusesonwhetherfilmtitlesareaesthetic,anditalsoshowsthecharacteristicsofChineseculture.WaterlooBridge,foranexample,whoseliteraltranslationis《滑鐵盧橋》,istranslatedinto《魂斷藍(lán)橋》bymeansoftranslationstrategies.ThisremindsChineseaudiencesofthetraditionalHuangmeiOpera《藍(lán)橋會(huì)》,soaudiencescanprobablyknowthattheprotagonistinthefilmwillinevitablyencountermisfortune.Andthetitleofthefilmcanfullyinspiretheaudiences’imaginationanddeepentheunderstandingoftheplotofthefilmstory.Thereforethefilmtitleofvariationtranslationwillhavemoreculturalimplications,whichismorefar-reachingthanthefilmtitleoffreetranslation.Translationvariationsarebasedondifferentlanguagestylesindifferentcultures,whichrequiresustomasterthestylesofbothEnglishandChinese.Chineseshouldbesimplified.AndtheexpressionhabitofChinesepeopleistousegracefulreduplicatedwordsandfour-characterstructure,andtheyareproficientinusingfour-characteridiomsandallusions.ThispaperanalysesthemeaningofEnglishfilmtitles,transformsthemintoappropriateChineseexpressionsbyappropriatemeansofadditionandsubtraction,andrecombinesthemintofamiliarChineseforms,whicharousestheresonanceoftheaudience.4.3Problems

in

the

Current

Situation

of

TranslationTherearegreatdifferencesinthewayofthinkingbetweeneasternandWesternpeople.ThetraditionalChinesewayofthinkingisholisticandabstract,whiletheEnglishnationispartiallyandconcretely.EveryonefeelsthatChineselaystressonsynthesis,inductionandimplication,whileWesternerslaystressonanalysis,subtlety,twistsandturns.Chineseareafraidofendlessexcavationandimproperdescription.TheChinesepayattentiontothegeneralityofthesubject,andthespecifictitleofthefilmisthattheyusemoreabstractandinductivetitlesofemotionalmood,whiletheWesterntitlestendtosimplifyandusealargenumberofelementssuchastime,place,charactersandeventsthataffectthedevelopmentoftheplot.IntraditionalChineseaesthetics,"artisticconceptionbeauty"isalwaysthecore,while"hazybeauty"isthecoreofartisticconception,thatis,"meaningisbeyondwords,impliedwarmth".Onthecontrary,thehighestrealmofwesternaestheticsisthepursuitof"realism",thatis,individualityimpliesgeneralityandaccidentalnecessity.Andifafilmistobemadewell,itwillcostmillionsofdollars,sothedistributionofthefilmmusttakeintoaccountthemarket.Whetherthemovietitlecanattracttheaudience'sattentionundoubtedlyplaysanimportantroleinadvertising.Therefore,thetranslationoffilmtitles"isnottexttranslation,butadvertisingtranslation",andthepurposeofadvertisingisonlyone,thatis,promotion.Advertisementstranslatedmostwell-knownandsatisfyingtocustomersinpastdynastiesarenotfaithfultotheoriginaltext.Therefore,thecommercialvalueisembodiedintheprocessoftranslation,whichrequiresthetranslatortobeboldandinnovative,notseeminglybutgodly.Toembodythis,firstofall,translatorsarerequiredtofullygrasptheculturalcharacteristicsandaesthetictasteofthetargetlanguage,createmovietitlesthatthetargetaudiencelikesandlikes,andstimulatetheirdesiretowatch.CulturaldifferencesandcommercialneedstogethercreatedifficultiesinFilmTitletranslation.HowtoachievefunctionalequivalenceinEnglish-Chinesetranslationrequirescarefulexploration.5.ThreeAspectstobeNoted5.1CulturaldifferencesBecauseaudiencesindifferentcountrieshavedifferentlivinghabitsandlivingenvironment,resultingindifferentculturaltraditions,andeachregionornationhasitsownuniqueculturalbackgroundandnationalpsychology,italsoshowsthediversityofviewsonthings.Becauseoftheinfluenceoftheirownvalues,peopleinChinaandtheWesthaveagreatpsychologicaldifferenceinculture.Orientalspaymoreattentiontothespiritualvalueofthegroup,andattachgreatimportancetothegroup;whileWesternerstendtorealizetheirpersonalvalue,whichemphasizestheindividual.Therefore,thisculturalpsychologicaldifferenceinfilmtitlesdeterminesthatthenamesofpeopleareoftenusedinEnglishmovies,whiletheoverallnumberofpeopleinChinesemoviesismoreusedtonamethem.Therefore,intheprocessoftranslatingEnglishfilmtitlesintoChinese,weshouldtakefullaccountofthedifferencesbetweenChineseandWesternpeople,andaccuratelygrasptheinfluenceofculturaltraditionsbetweenthetwocountries,andensurethattheChinesetranslationofEnglishfilmtitlesnotonlyrestoresthelinguisticcharmofthesourcelanguage,butalsoenablesChineseaudiencestounderstanditsmeaning.5.2AesthetichabitsTherearealsosomedifferencesinaestheticstandardsbetweentheEastandtheWest.Relativelyspeaking,Orientalspreferthebeautyofartisticconception,whileWesternerspreferthebeautyoftruth.Basedonthisdifference,translatorsshouldalsostrivetobreakthefixedthinkingmodeofWesternersintheprocessoftranslatingEnglishfilmtitlesintoChinese,andshowthedistinctculturalatmosphereandvaluepowerofourcountryinlanguage.Traditionalwesterntranslationstrategiescannotshowtheartisticvalueofthefilmitself,sointhiscase,translatorsneedtoaddacorrespondingtextandmakeitcontainprofoundChineseculturalcharacteristics.Forexample,ChineseidiomscanmakepeoplefeeltheflavorofChineseculturedistinctly.Theycanalsoclarifytheconnotationofthesourcelanguageandcreateanewvisualfeelingfortheaudience.5.3AdvertisingeffectThedevelopmentprocessoffilmiscloselyrelatedtothedevelopmentofsocialeconomy,andtheultimategoaloffilmandtelevisionworksistoreapcommercialbenefits.Atpresent,theemergenceofcommercialinformationinsocietyhaspromptedmanymovietitlestobecomeaneffectivewaytodisseminatecommercialinformation.Thevalueandbenefitsbroughtbymovietitlesareenormous,andtheyarealsousedbymanycommercialadvertisements.Theprominenceofthissituationrequirestranslatorstostandinabrand-newfieldofvisionandplaytheirinitiativetofindculturalsignificance,sothatitcontainsastrongartisticflavor,andtomaintainconsistencywiththeaudience'spsychologicaldesires.Inaddition,weshouldalsotakeintoaccounttheneedsofadvertisingitself,andprovideafavorabledevelopmentpathforthedevelopmentofcommerce.6.ConclusionAlthoughmanysuccessfulEnglish-Chinesefilmtitletranslationshavebeenproduced,thequalityofthem,however,needstobeimprovedurgently.InordertotranslateEnglishfilmtitlesquicklyandeffectively,Ihavethreesuggestions.Firstly,weneedtodeeplyunderstandthecontentofthefilm,analyzethenatureofthefilmandstudythestorybackgroundofthefilm.Onthepremiseofcontentandbackground,combiningwiththenatureofthetitle,itmakesthemostequivalenttranslationinChineseandEnglishculture.Ifthetitleofthefilmisarepresentativepropernounsuchaspeople’snameandplacename,andthenounissofamousthatthepeopleofbothcountriescanunderstandit,wecanchooseliteraltranslation.Ifthenounisonlyknownbythepeopleofthesourcecountry,weneedtochoosethetranslationmethodaccordingtothecontentorbackground.Sothatthepeopleofthetargetcountrycanarousethesameemotionalresonancetoachievetranslationequivalence.Secondly,intermsoftranslationmethods,weoughtnottobeconfinedtoonlyone,butchooseacombinationofvarioustranslationmethods.Literaltranslationandfreetranslation,liketwinsisters,cancomplementeachotherintranslation.Sometimesliteraltranslationmayhavetheriskofdistortingliteralmeaningandcontent,whilefreetranslationmaydamageforeigngeographicalcustoms.NeitherofthemisaperfectwaytotranslateEnglish-Chinesemovietitlesseparately.Butifwecombinethetwo,wecansolvetheseproble