| Declaration | 第1-5页 |
| Abstract | 第5-7页 |
| Acknowledgement | 第7-10页 |
| Chapter One Introduction | 第10-15页 |
| ·Genre to Be Studied: American Disney Cartoon Films | 第11页 |
| ·Case Study: Mulan | 第11-12页 |
| ·Research Questions | 第12页 |
| ·Methodology | 第12页 |
| ·Thesis Structure | 第12-15页 |
| Chapter Two Theoretical Framework | 第15-28页 |
| ·Translation Strategy: Domestication | 第15-16页 |
| ·Domestication and Foreignization | 第15-16页 |
| ·Domestication Preferred in Film Subtitle Translation | 第16页 |
| ·Ideological Manipulation | 第16-23页 |
| ·Manipulating Function of Ideology | 第16-20页 |
| ·Varied Definitions of Ideology | 第17-20页 |
| ·Function of Ideology | 第20页 |
| ·Ideological Governance on Translation | 第20-21页 |
| ·Ideological Approach to Translation in Domesticating: A Historical Review | 第21-23页 |
| ·Theoretical Foundation of Ideological Manipulation in Domestication Translation | 第23-28页 |
| ·Skops Theory: Target-Oriented in Film Subtitle Translation | 第24-25页 |
| ·Deconstruction Theory: Différance-Space into Question | 第25-28页 |
| Chapter Three: Mulan: A Case Study---Americanization and Orientalization | 第28-41页 |
| ·Mulan: Synopsis | 第28-29页 |
| ·Americanization of Mulan Image in Disney | 第29-36页 |
| ·Feminism and Self Identification Underlying Filial Piety | 第29-35页 |
| ·American Mulan's Awareness of Self Identification | 第30-31页 |
| ·Self Identification Underlying Filial Peity | 第31-35页 |
| ·American Humour at Play | 第35-36页 |
| ·Orientalization as Projected by the Scriptwriter | 第36-40页 |
| ·Reason for Americanizing and Orientalizing Mulan: Appropriation for the Market | 第40-41页 |
| Chapter Four Official Ideology in China Governing Domestication Strategy | 第41-58页 |
| ·Ideology Underlying Culture | 第41-43页 |
| ·Film as an Ideological Apparatus | 第43-45页 |
| ·Power in Ideology | 第43-44页 |
| ·Ideological State Apparatus | 第44-45页 |
| ·The Ideological Articulation in Film | 第45-47页 |
| ·Official Ideology in China Governing Domestication in Mulan | 第47-58页 |
| ·National Policy on Ideological Development | 第47-49页 |
| ·Domesticating Mulan-Deviation | 第49-58页 |
| ·Rewriting into Chinese Traditional Values | 第49-52页 |
| ·Downplaying Humour | 第52-53页 |
| ·The Destruction Exoticization | 第53-58页 |
| Chapter Five Mass Ideology and its Influence on Domestication | 第58-86页 |
| ·The Influence of Audience on Film | 第58-62页 |
| ·What is a Film Audience? | 第58-59页 |
| ·The Role of Audience in Film Production | 第59-60页 |
| ·Mulan Targeting General Audience | 第60-62页 |
| ·Film Audience Constructed by Ideology | 第62-63页 |
| ·Mass Ideology and its Influence on Domestication in China | 第63-86页 |
| ·Secularism in the 90s | 第64-67页 |
| ·The Role of Secularism | 第64-65页 |
| ·Importation of Blockbusters | 第65-66页 |
| ·Entertainment Films in the 90s | 第66-67页 |
| ·Secularism in Domesticating Mulan | 第67-86页 |
| ·Modernizing | 第67-73页 |
| ·Historic Allusion | 第73-79页 |
| ·Ennoblement | 第79页 |
| ·The Destruction of Linguistic Patternings | 第79-81页 |
| ·Domestication in Film Different from That in Pure Text | 第81-82页 |
| ·Feminist Elements Maintained | 第82-86页 |
| Chapter Six Conclusion | 第86-89页 |
| ·Overview | 第86-87页 |
| ·Limitations | 第87页 |
| ·Suggestions | 第87-89页 |
| Bibliography | 第89-92页 |
