本研究分析了中国动画剧集《中国奇谭》中字幕与视觉图像之间的不同关系，以及针对每种关系所采用的翻译策略。

影视作品作为重要的文化载体，在向海内外传播中华文化方面发挥着重要作用。近年来，许多优秀的国产影视作品逐渐走向国际市场，《中国奇谭》就是其中之一。自上映以来，在国外引起了广泛关注和热烈讨论，这离不开优秀的字幕翻译。因此，笔者选择《中国奇谭》作为案例，梳理其中字幕与视觉形象之间的不同关系，并研究这些关系如何影响字幕翻译策略的使用。

本研究选择张德禄的多模态话语分析综合框架作为理论框架，从出现频率和翻译策略两个方面分析了每集字幕与视觉图像之间的不同模态关系。研究发现,《中国奇谭》中出现的字幕与视觉图像之间的模态关系主要有八种类型，即强化-突出，强化-主次，强化-扩充，非强化-交叉，非强化-协调；内包-抽象与具体，语境交互-独立，语境交互-依赖，并发现译者以语义翻译为主要翻译策略，但在强化-扩展关系方面全部采用交际翻译。希望本研究能从多模态非话语分析的角度对国内优秀动画作品的字幕翻译有所启示。

This study analyses the different relationships between subtitles and the visual images in the Chinese animated film collection Yao-Chinese Folktales and the translation strategies used in respect of each relationship.

As an important cultural carrier, movie and television works fulfil a pivotal function in popularizing Chinese culture home and abroad. In recent years, many excellent domestic movie and television works have gradually entered the international market, and Yao-Chinese Folktales is one of them. Since its release, it has attracted wide attention and caused heated discussion abroad, which is impossible without excellent subtitle translations. Thus, the author chooses Yao-Chinese Folktales as the case to sort out different relationships between subtitles and visual images in it and examine how these relationships affect the use of subtitle translation strategies.

The study chooses Zhang Delu's synthetic framework of multimodal discourse analysis as the theoretical framework to analyse different modal relationships between the subtitles and the visual images in each episode in terms of frequency and translation strategies. It finds eight main types of modal relationships between subtitles and visual images that occur in Yao-Chinese Folktales, namely, reinforced-highlighting, reinforced-primary & secondary, reinforced-expansion, non-reinforced-crossover, non-reinforced-coordination; inclusion-abstract & concrete, contextual interaction-independent, contextual interaction-dependent, and finds that the translator uses semantic translation as the main translation strategy, but adopts communicative translation in terms of the reinforced-expansion relationship. It is hoped that this study will shed light on the subtitling and translation of excellent domestic animated films from the perspective of multimodal discourse analysis.