| Acknowledgements | 第1-6页 |
| Abstract | 第6-8页 |
| 中文提要 | 第8-12页 |
| Introduction | 第12-16页 |
| Chapterl Nida's Theory and Screenplay Translation | 第16-20页 |
| 1．1 Nida's theory of functional equivalence | 第16-17页 |
| 1．2 His theory and screenplay translation | 第17-20页 |
| Chapter2 Characteristics of Screenplay Translation | 第20-32页 |
| 2．1 Characteristics of screenplay language | 第20-23页 |
| 2．1．1 Irreversibility | 第21-22页 |
| 2．1．2 Colloquialism | 第22页 |
| 2．1．3 Mass entertainment orientation | 第22-23页 |
| 2．2 The constraints of screenplay translation | 第23-32页 |
| 2．2．1 The limit of time | 第24-27页 |
| 2．2．2 The matching of lip movements | 第27-30页 |
| 2．2．3 The matching of gestures | 第30-32页 |
| Chapter3 Stylistic Equivalence in Screenplay Translation | 第32-43页 |
| 3．1 Immediate comprehensibility | 第32-35页 |
| 3．2 Speakability of the target language | 第35-39页 |
| 3．3 Characterization through the use of language | 第39-43页 |
| Chapter4 Aesthetic Equivalence in Screenplay Translation | 第43-52页 |
| 4．1 How to achieve aesthetic effect in screenplay translation | 第43-44页 |
| 4．2 Literal translation | 第44-45页 |
| 4．3 Free translation | 第45-52页 |
| Chapter5 Pragmatic Equivalence in Screenplay Translation | 第52-67页 |
| 5．1 The translation of puns | 第52-58页 |
| 5．2 The translation of metaphors | 第58-65页 |
| 5．3 The translation of humor | 第65-67页 |
| Conclusion | 第67-70页 |
| Bibliography | 第70-73页 |
