【正文】 and mercialization, it tends to be very natural and reasonable for the translator to take mercial element into consideration when he is translating the film titles. According to Reception Aesthetics, two requirements of the realization of mercial value of film titles will be mentioned. The first one is that the translated title must conform to the features of our Chinese culture as well as the aesthetic judgment of Chinese appreciators, namely to reflect the thoughts, emotions and dreams of ordinary people and suit their tastes. Secondly the translated titles should be eyecatching and novel in wording, either creating suspense or intensifying the atmosphere. To achieve such purpose, the translator should take no effort to seek his initiative to seek spiritual similarity instead of formal resemblance. 《修女也瘋狂》（Sister Act）is an excellent representative on this point, which integrates the aesthetic feature and mercialization successfully. Probing into the EC film title translation method and techniques TransliterationTransliteration is to seek phonetic correspondence in terms of the translation of proper names, the name of persons and places in particular in the film titles. It relates to the conversation of different alphabets in different language system. Although not widely used in the translation of English film titles, it turns out to be indispensable.If the name of persons and places is either familiar to the potential audiences or bears important historical and cultural significance, they should be preserved and handled by means of transliteration. In this way, the characteristic tone and rhyme of the source language is preserved in the translated title, which gives the potential audiences an opportunity to appreciate the different cultures. Many good translation of transliteration have e onto the screen, such as Titanic《泰坦尼克號(hào)》, Casablanca《卡薩布蘭卡》, Romeo and Juliet《羅密歐與朱麗葉》, Jane Eyre《簡(jiǎn)愛(ài)》and so on. Literal translationLiteral translation strives to reproduce both form and content of the original according to the respective characteristics of English and Chinese and retains as much as possible the figures of speech. In the actual process of translation, this method proves very simple and feasible when its title reflects almost exactly the content of a film. These titles could almost be translated word for word. For instance, Schindler’s List is rendered as 《辛德勒的名單》，F(xiàn)our Weddings and a Funeral as 《四個(gè)婚禮和一個(gè)葬禮》，Gentleman’s agreement as 《君子協(xié)定》and Dance with Wolves as 《與狼共舞》.Furthermore, it is noticed that adjustment of the word order and omission make themselves two indispensable techniques in doing literal translation so that the expressions could be more concise and idiomatic. As to the adjustment word order, it may violate Chinese idiomatic ways of expressions and their aesthetic taste, therefore the word order or structure of the English title has to be slightly altered. The following serves as convincing examples: Man in Black (黑衣人)，A Walk in the Clouds(云中漫步), A Streetcar Named Desire(欲望號(hào)街車) and so on. Apart from this, omission also deserves our attention. Generally speaking, omission in EC film title translation is to deal with the excessive use of English pronouns, and such functional word as articles, propositions and so on. For example, My Fair Lady《窈窕淑女》，here ‘my ’ is omitted in the Chinese version. In this way the translated title could conform to the accustomed usage of Chinese expressions and eventually could be accepted by Chinese audience. Free translationFree translation is an alternative approach that is used mainly to convey the meaning and the spirit of the original title without sticking to the form mechanically. This method is most frequently used when it is really impossible or not so good for the translator to do literal translation. Free translation calls for “to change the form”, that is, in order to avoid the misunderstanding and accepted by the Chinese audiences, the translator changes the form of the English titles in the process of translating but try best to preserves the content of the film in the translated title. It includes some techniques, such as omission, extension, conversion and amplification in particular.Take 《小鹿班比》for example. If Banbi is literally translated, the audience would have no way to know that it is a film to the taste of the children. Once “小鹿” are added according to the content of the film, the image of such a lovely animal immediately jumps into the audience’s minds at their first glance of the version. Furthermore, the story of the film is selfevident. We may safely say that the addition of ‘小鹿’ is very successful in that it guarantees the harmonious unity of informative, aesthetic as well as mercial value of the version. Combination of literal translation and free translationLiteral translation and free translation have been ‘twin sisters’ ever since the work of translation came into being. Film title translation does not make any exception. However, sometimes “the former runs the risk of distorting the meaning and content, while the latter runs the risk of spoiling the foreign flavor, neither is the sole and perfect method in the translation of film titles. The fact is that the two methods get well blended and bined in practice. Most of successful translations of English film titles have proved this point, such as Ghost (人鬼情未了), Sleepless in Seattle (西雅圖不眠夜), Shoot First (先發(fā)制人) and Sister Act(修女也瘋狂).A typical example is the translation of Madison County Bridge 《廊橋遺夢(mèng)》，which tells a deeply touching love story between a telegraph taker and a housewife in Madison County. Just as the film Waterloo Bridge, the bridge gives birth to the beginning and ending of the story. If it is translated literally as 《梅德遜郡橋》, the tragic atmosphere would be weakened and the lose the attraction to the Chinese audience. However, as to another translated version 《廊橋遺夢(mèng)》，the two Chinese characters ‘遺夢(mèng)’ give birth to the tragic