本文以尤金·奈达(1969)的功能等值论和彼得·纽马克(1988)对文化的界定为依据，对改编自英国小说家伊恩·麦克尤恩《赎罪》(2001)的好莱坞2007年同名影片在大陆和台湾中文字幕版本之间进行对比研究，同时参照小说原著及三部中译本——大陆郭国梁(2011)和台湾范文美(2002)、赵丕慧(2009)中的相关语料进行文体学与语用学分析。通过电影字幕与小说翻译的异同及《赎罪》在海峡两岸翻译的细微差别对两岸的电影翻译理论和实践进行探索。当代电影翻译理论大多强调归化和异化，很大程度上忽视了译者角色和观众接受。虽然奈达和纽马克的论述对文本翻译有重要的指导意义，但都不能直接应用于跨文化语境下的电影字幕翻译。麦克尤恩的《赎罪》中，语言、文学、文化、跨文化及互文性元素非常丰富。而电影字幕受媒体的时空限制，与小说翻译有一定差别；国语因海峡两岸的使用习惯和亚文化因素影响也有一定差别。本文通过研究语言文化元素在电影中文字幕翻译中的呈现，强调了语用学和文体学方法在跨文化语境下的重要性。研究发现，两岸译者既有异曲同工的创造性，同时也有因背景文化知识、语用能力和跨文化意识不足或程度不同而导致的问题：或者没有准确体现和重建原作中的文化元素，或者两岸译文出现较大差异，包括俗语、俚语、禁忌语及言语行为在跨文化语用学层面的功能不对等；宗教、军事等领域的概念翻译缺失；互文性意识不足或敏感度不同造成的文学典故等成分缺失；两岸的语言偏好及文体习惯不同导致的各种差异。本文指出，从语用学和跨文化视角对电影和小说文本中的文化内涵进行分析，能评价作为读者的译者是否忠实再现了原文中的语言、语用、文化和互文性元素；对不同译本进行文体分析和对比，能从目标语受众角度更客观地衡量译文传达，再现原文化信息和文学意义的效果。电影字幕翻译是跨文化交流活动的一个特殊形式，译者需要在词汇、句法、语义、语用等层面进行解码和阐释，从文体学、语用学和跨文化交流等视角综合考虑再编码和再现原作。由小说到电影，再由电影到小说，是研究文学翻译的一个重要途径，既可以为电影字幕翻译提供方法，也可以为翻译研究提供参考。解读原著可以解决电影改编遗留下的模糊问题，对比同一电影和小说在海峡两岸翻译的异同，可以发现各自的特点和规律，总结经验，促进海峡两岸翻译界在理论和实践上的交流和互动，共同促进外国文学和文化在中国的传播。

By revisiting Eugene Nida's (1969) theory of functional equivalence and Peter Newmark's (1988) definition of culture in translation, this dissertation gives a stylistic and pragmatic analysis by comparing two Chinese subtitled versions of the 2007 Hollywood film Atonement produced in the Mainland and Taiwan, with constant references to its original novel by Ian McEwan (2001) and Chinese versions Shúzuì by Guo Guoliang (2011) in the Mainland, and Fan Wenmei (2002) and Zhao Pihui (2009) in Taiwan. From the similarities and disparities in Chinese translations of the film and the fiction across the Strait, this study aims to inquire into the theory and practice of cinematic and fictional translation in the broader Chinese context.Contemporary film translation theories generally emphasize domestication and foreignization, and largely overlook the translator's roles and the viewer's reception. Powerful as Nida's and Newmark's theories are in textual translation, neither can be directly used to address cross-cultural aspects in subtitling films. Apart from linguistic and cultural differences between Chinese and English, there are linguistic variations and subcultural differences across the Strait. McEwan's Atonement is very rich in linguistic, literary, cultural, intercultural and intertextual elements, but there are obvious differences between the fiction and the film. Due to the limitations of time and space in subtitling, there are differences in translations, especially out of verbal preferences and subcultural differences. This study examines the ways cultural elements are adapted in the film and subtitled in Chinese, and has highlighted the importance of pragmatics and stylistics in bringing out the essence to viewers in the cross-cultural media. It has found that while translators have independently produced creative translations, they have also caused problems because of their lack of background knowledge, different degrees of pragmatic competence and cross-cultural awareness. They either fail to represent some cultural elements from the original, or differ in their translations, including lack of functional equivalence in idioms, slangs, and taboos, etc. on the cross-cultural pragmatic level; failure to represent religious and military concepts, literary allusions and intertextual elements due to deficiency of knowledge or varying degrees of literary sensitivity; and linguistic and stylistic variations on all levels. The dissertation points out that an in-depth analysis of cultural essence in film and fiction from pragmatic and stylistic perspectives can serve to evaluate if the translator-as-reader can truthfully represent linguistic, pragmatic, cultural and intertextual elements; and a comparative stylistic analysis of different versions can help us as readers/viewers more objectively weigh the effects of the cultural message and literary significance conveyed in translations.Film subtitling is a special form of intercultural activity, and the translator has to decode and interpret the original on the lexical, syntactic, semantic and pragmatic levels, and recode and represent the original on a comprehensive basis from stylistic, pragmatic and intercultural perspectives. Focus on the relation between fiction and film can be an important approach to literary translation studies, which can provide methods for cinematic translation and references for translation studies. References to the original novel can solve problems of vagueness left by film adaptation, and comparative studies of different translations of the same film and fiction across the Strait can help find out similarities and disparities, along with peculiarities and regularities. These can hopefully promote literary and cultural exchange between the outside world and the Chinese community. More specifically, this study hopes to promote communication and interaction between translators across the Strait for better translations of foreign film and fiction.