【正文】 if it uses different channels, the result will be a “diasemiotic” translation. Most text types involve isosemiotic translation. F。 Luyken et al., 1991:31。 while for the other form subtitling, which is the primary focus of the thesis, will be given full consideration later. Definition of SubtitlingThe other type of audiovisual translation is subtitling. Unlike dubbing, subtitling is the written translation of the spoken language of a film and a TV program into the language of the target audience. It is easier than dubbing in the process of translation, and due to the low cost and high speed for distribution, it bees more and more prevalent recently. Obviously, one of the reasons is that the education of foreign languages is widespread, and with the fast development of economy, the foreign languages have been a general knowledge among people, especially the younger generation. So the younger generation prefers to subtitled films and TV plays, who is more interested in Western culture and foreign languages. These audiovisual products can improve their listening and speaking with the aid of subtitling while listening to the original sound. In a word, subtitling is one of the main forms of language transfer in audiovisual works, which is increasingly developing into a global medium in a world fragmented by about 5,000 languages. “Subtitling is the translation of the spoken (written) source text of an audiovisual product into a written target text which is added onto the images of the original product, usually at the bottom of the screen.” (Gottlieb, 1994a。 54 cit. in Karamitroglou, 2000:13) On the other hand, granted the audial and visual qualities of audiovisual translation, the audiovisual product is such a plicated and prehensive form of art that it partly covers literary genres like fiction, drama, poetry etc. in many ways. Thus there is no wonder that it is incorporated by She Xiebin into Chinese literature as a type of audiovisual literature (佘協(xié)斌，2001:53). Besides, another important reason for counting the audiovisual product into literary line lies in its language. As a core element, the language of a movie or TV play is mainly created beforehand so that it is posite of wellthoughtof dialogues. These dialogues are multifunctional as not only do they contribute to the evolution of the tightknit plot, but they also display a portrayal of the vivid characters, set a mirror reflecting their inner feelings and serve as well to reveal the theme of the movie or TV play. That is to say, the language of audiovisual works both informatively and aesthetically and in this sense, we could take it as a literary language by nature。 instead, they have crossed national boundaries and bee international. A large number of foreign audiovisual products provide people a fresh view of various lives in other countries. Therefore, the translation of audiovisual products from the source language to the target language is indispensable when we introduce these products to the target country. The Study of Audiovisual TranslationFor several decades almost every country all over the world has improved its own unique tradition of filmmaking as well as rendering foreign products into the target language. Nowadays films and TV programs have bee tremendously influential and extremely powerful vehicles for transferring values, ideas and information between different cultures. While meeting and satisfying viewers’ expectations and curiosity concerning various cultures, it should ensure the originality and hence the foreignness of films. Audiovisual translation seems to have been absent from academic exchanges on translation until very recently. Since about 1995, the study of screen translation has been progressing rapidly for several reasons. Firstly, the year 1995 became a milestone in the history of screen translation. It was the centennial anniversary of the cinema, so the Council of Europe wanted to celebrate it and agreed to host a forum on audiovisual munication and language transfer. From that year on, seminars and conferences have been held each year. The number of publications also has a significant rise. Secondly, the breakthroughs of new technology make online and offline services and products a reality. We are now surrounded by screens. The third one is the change of language policy and the increase of language awareness, especially in Europe. Minority groups now realize that the media could be a useful tool to promote and reinforce their languages and cultural identities. Last but not least, translation practice also changes rapidly. (Gambier 2003:171)Except audiovisual translation, the other two terms frequently used are screen translation and film translation. According to Karamitroglous, he prefers “audiovisual translation” to “screen” or “film translation” because audiovisual translation emphasizes the two dimensions of the audiovisual municative mode. Audiovisual munication means that both the acoustic channel through air vibrations and visual channel through light waves are simultaneously utilized. Although having preference and aspects stressed respectively, Karamitroglous still agrees that the three terms actually refer to one thing—the transfer of language in a multimedia mode. In the introduction of a special issue on Screen Translation in The Translator journal, Gambier proposes “transadaptation”, a term which “might allow us to go beyond the usual dichotomy (literal/free translation, translation/adaptation, etc.) and take target audiences into consideration more directly.” (ibid:178)Gambier (ibid:1727) divides types of screen translation into two groups: Dominant types: interlingual subtitling, dubbing, consecutive interpreting, simultaneous interpreting, voiceover, free mentary, simultaneous (or sight) translation and multilingual production. Challenging types: scenario/script translation, intralingual subtitling, live (or real time) subtitling, subtitling,