| Acknowledgements | 第1-4页 |
| Abstract in Chinese | 第4-6页 |
| Abstract in English | 第6-12页 |
| Introduction | 第12-15页 |
| Ⅰ Profile of English Film Titles | 第15-23页 |
| 1．1 Cinemac Genre | 第15-16页 |
| 1．2 Naming Approach of English Film Titles | 第16-17页 |
| 1．2．1 Indication of Subject | 第16-17页 |
| 1．2．2 Indication of Object | 第17页 |
| 1．2．3 Indication of Theme | 第17页 |
| 1．2．4 Indication of Background | 第17页 |
| 1．3 Features of English Film Titles | 第17-21页 |
| 1．3．1 Linguistic Features | 第18页 |
| 1．3．2 Aesthetic Features | 第18-19页 |
| 1．3．3 Cultural Features | 第19-21页 |
| 1．4 Functions of English Film Titles | 第21-23页 |
| 1．4．1 The Informative Function | 第21页 |
| 1．4．2 The Expressive Function | 第21-22页 |
| 1．4．3 The Aesthetic Function | 第22页 |
| 1．4．4 The Vocative Function | 第22-23页 |
| Ⅱ Reception Aesthetics and Its Influence on Film Title Translation | 第23-30页 |
| 2．1 Reception Aesthetics as a Discipline | 第23-27页 |
| 2．1．1 Reader's Role and Position | 第24-25页 |
| 2．1．2 Horizon of Expectation and Fusion of Horizons | 第25-26页 |
| 2．1．3 Horizontal Reception and Vertical Reception | 第26-27页 |
| 2．2 Influence of Reception Aesthetics on Translation | 第27页 |
| 2．3 Influence of Reception Aesthetics on Film Title Translation | 第27-30页 |
| Ⅲ Analyzing the Film Title Translation Aesthetically | 第30-34页 |
| 3．1 Reception Process as the Aesthetic Experience | 第30-32页 |
| 3．1．1 Aesthetic Object | 第31页 |
| 3．1．1．1 Quantitative Aesthetic Constituents | 第31页 |
| 3．1．1．2 Non-quantitative Aesthetic Constituent | 第31页 |
| 3．1．2 Aesthetic Subject | 第31-32页 |
| 3．2 Empathy | 第32-34页 |
| Ⅳ Exploring the English-Chinese Film Title Translation:From Theory to Practice | 第34-70页 |
| 4．1 Questioning the Validity of Functional Equivalence in the E-C Film Title Translation | 第34-36页 |
| 4．2 Realization of Four Basic Points | 第36-47页 |
| 4．2．1 Informative value | 第36-38页 |
| 4．2．2 Cultural value | 第38-42页 |
| 4．2．2．1 From the Micro Perspective | 第39-41页 |
| 4．2．2．2 From the Macro Perspective | 第41-42页 |
| 4．2．3 Aesthetic Value | 第42-45页 |
| 4．2．4 Commercial Value | 第45-47页 |
| 4．3 Probing into the E-C Film Title Translation Methods and Techniques | 第47-60页 |
| 4．3．1 Transliteration | 第47-49页 |
| 4．3．2 Literal Translation | 第49-52页 |
| 4．3．2．1 Adjustment of Word Order | 第51页 |
| 4．3．2．2 Omission | 第51-52页 |
| 4．3．3 Free Translation | 第52-56页 |
| 4．3．3．1 Contextual Amplification | 第53-54页 |
| 4．3．3．2 Formal Amplification | 第54-56页 |
| 4．3．4 Combination of Literal Translation and Free Translation | 第56-58页 |
| 4．3．5 Adaptation | 第58-60页 |
| 4．4 Introductory Principle of Trinity | 第60-70页 |
| 4．4．1 The Maxim of Conciseness | 第61-65页 |
| 4．4．1．1 Chinese Four-character Expressions | 第62页 |
| 4．4．1．2 Quotation and Parody | 第62-63页 |
| 4．4．1．3 The Classical Chinese | 第63-65页 |
| 4．4．2 The Maxim of Appropriateness | 第65-67页 |
| 4．4．2．1 Stylistic Transference of Different Cinemac Genres | 第66页 |
| 4．4．2．2 Propriety in Wording | 第66-67页 |
| 4．4．3 The Maxim of Creation | 第67-70页 |
| 4．4．3．1 Analysis and Synthesis | 第67-68页 |
| 4．4．3．2 Foreignness Vs Repacking | 第68页 |
| 4．4．3．3 Popularity Vs Elegance | 第68-70页 |
| Ⅴ Comparison of Film Title Translation from Synchronic and Diachronic Perspective | 第70-79页 |
| 5．1 Temporal Characteristics of Film Title Translation | 第70-72页 |
| 5．2 Comparison of the Film Title Translation in the Mainland, Hong Kong and Taiwan | 第72-76页 |
| 5．2．1 Different Translation Methods in Contrast | 第72-76页 |
| 5．2．2 Illumination: the Potential Reasons | 第76页 |
| 5．3 Problems in the E-C Film Title Translation and the Corresponding Strategies | 第76-79页 |
| 5．3．1 A Brief Survey of the Problem | 第76-77页 |
| 5．3．2 Probing into the Potential Strategies | 第77-79页 |
| Conclusion | 第79-81页 |
| Appendix | 第81-84页 |
| Bibliography | 第84-87页 |
