However, in China, there are a few scholars delving into audiovisual translation。 From the earliest silent films to real dubbed films, Chinese audience have already been accustomed to watch original English films with Chinese subtitles。 Besides that, in our modern life, the number of target audience who watch dubbed films is more than the number of target readers who read literary translation works, so the influence of audiovisual translation is not lower than the influence of literary translation。 But on the contrary, scholars from the translation circle pay more attention to literary translation rather than audiovisual translation。 Thus, this phenomenon should arise people’s alertness。

2。 Literature Review

2。1 The Concept of Equivalence 

Eugene A。 Nida was born in America in 1914。 He was a famous linguist and translator, and he also was the most influential one among contemporary theorists in the translation field in the last century。 His theory—functional equivalence made a great contribution to translation studies for the western countries。 This theory came from the concept of the dynamic equivalence which was mentioned in Toward a Science of Translating: “In such a translation (dynamic equivalent translation) one is not so concerned with matching the receptor-language message with the source message, but with the dynamic relationship, that the relationship between receptor and message should be substantially the same as that which existed between the original receptors and the message (Nida 159)。” However, Nida did’t defined the theory of dynamic equivalence until 1969。 The definition was that ”the idea was that the translator should translate so that the effect of the translation on the target reader is roughly the same as the effect of the source text once was on the source reader。” (Nida and Charles 45 ) According to this statement of Nida, we can clearly learn that dynamic equivalence is reader-oriented。 文献综述

In 1984, Nida wrote a famous book: From One Language to Another。 In this book, he proposed the functional equivalence is better than dynamic equivalence in the field of translation。 Therefore, the theory of functional equivalence was further developed。 In 1990s, functional equivalence was pided into two levels: one is the maximal level; the other is the minimal level。 Today, when translators use this theory in a translation, translators should know they need to give more concern with readers’ feeling instead of the source message itself。 Meanwhile, in order to comprehend source texts, the dynamic equivalence hopes people to use a complete and natural expression translating so that it doesn’t require readers to learn other countries’ cultural patterns of source-language context。 Besides functional equivalence, formal equivalence is the other significant theory which is postulated by Eugene A。 Nida。 

In contrast with functional equivalence, formal equivalence is text-oriented。 It requires people to pay attention to forms and contents of the message。 During the process of translating, this theory hopes people to notice correspondences as poetry to poetry, sentence to sentence and concept to concept。 All these can be reflected in source-text words, grammar and syntactic structures。 Thus, it requests translators to possess excellent translating level and they should try to “reproduce as literally and meaningfully as possible both form and content of the original, and the reader is permitted to identify himself as fully as possible with a person in the source-language context, and to understand as much as he can the customs, manner of thought and means of expression。” (Nida,1964:159) Therefore, a formal equivalent translation is a literal but meaningful translation。 In fact, formal equivalent translation and functional equivalent translation are just different types of translation, they just adjust different situations of translation respectively。 As for audiovisual translation, comparing with formal equivalence, dynamic equivalence is more suitable for audiovisual translation。