This paper actively discusses the translation strategies of English film titles from the perspective of Skopostheorie in order to realize the commercial value of films. English film title translation; Teleology; Translation strategy 1. Introduction In 1980s, two famous German theorists, Rice * * * Katarina Rice * * and Vermeer * * * * Hans J Vermeer * * * put forward the Skopos Theory, which broke away from the traditional theory of equivalence and made the translation of movie titles break away from equivalence. It enriches the theory of film and television translation, which is conducive to the full play of the translator in the translation process, and is more conducive to the full play of the translator's subjective initiative and target language advantages in the film title translation process. The purpose of film title translation is to give full play to its commercial value on the basis of realizing its general value, which makes the translation methods of film titles tend to be diversified. Translation methods are not limited to literal translation, free translation and transliteration. Even according to the audience's psychology, culture and language habits, it can be translated creatively and completely out of the original film title. Secondly, Skopostheorie behavior theory and cross-cultural communication theory are the theoretical basis of Skopostheorie, which holds that translation is not a simple sign transformation based on the original text, but a complex behavior to realize cross-cultural and cross-language communication of information. Vermeer believes that "translation is to translate for a specific purpose and for a specific recipient in a specific environment" [1](p 12). In terms of translation principles, Skopostheorie holds that translation should follow three principles: the first principle is Skopostheorie, that is, the purpose of translation determines the whole process of translation behavior and the means used in translation, and this purpose determines what translation methods and strategies translators need to adopt to produce functionally satisfactory results, which is translation. Therefore, in Skopostheorie, the translator must know why the original text should be translated and what the function of the target language is. The second principle is the law of consistency, and the third principle is the law of loyalty. Skopos theory holds that "the purpose determines the means" and that "the source language is not the primary basis for the translator, but only a kind of information that the translator needs to obtain before translation" [1]***p25, p29***. Thirdly, the guiding significance of Skopostheorie to film title translation. Skopostheorie holds that the first rule to be followed in translation is Skopostheorie, which not only gets rid of the guidance of the "equivalence principle" on movie titles, but also reduces the guidance and leading position of the original movie titles in the translation process, which is more conducive to the translator's initiative in the translation process, giving full play to the advantages of the target language, and making the translation achieve more ideal results. Take Waterloo Bridge and Waterloo Bridge as examples. Although both versions of the film title Waterloo Bridge are translations of the same film title, although the former completely follows the principle of "equivalence", the audience's first reaction to seeing the film title may be to tell a plain story about the wet railway bridge. The latter gives full play to the initiative and creativity of the translator. Broken Blue Bridge captures the audience's psychology and arouses their curiosity. This translation not only improves the general value of film titles, such as generality and artistry, but also leaves a deep impression on the audience, thus improving its box office value. There are many similar excellent translations, such as Ghost Translation, Piano Loved, Pretty Woman Translation, and so on. Fourthly, Skopostheorie makes the translation methods of movie titles more diversified. Skopostheorie holds that translation is an act, and any act has its purpose. The purpose of translation determines the methods and strategies that should be adopted in translation. Skopostheorie holds that the purpose of a specific translation task determines the method of translating the text. This solves the problem of translation methods of film titles. The purpose of film title translation is to attract the audience better, so any translation method that can achieve this goal can be adopted on the premise of conveying the information value, cultural value and aesthetic value of the original film title and realizing its commercial value, which makes the translation methods of film titles tend to be diversified. 1. transliteration is to translate loanwords with Chinese characters with similar pronunciation. This Chinese character used for transliteration no longer has its own original intention, but only retains its pronunciation and writing form. In the process of translating movie names, transliteration of names and places is usually involved. For example, Titanic * * * Titanic * * *, Casablanca * * * Casablanca * * *, Romeo and Juliet * * * *, Jane Eyre * * * and so on. 2. The literal translation method needs to be faithful to the content of the original film title. When the title of a movie can reflect its main content and theme, it needs literal translation, which is very common in the translation of movie titles. For example, Brave Heart, Woman in Love, The Mask of Zorro, Pride and Prejudice, Walking in the Clouds, etc. 3. Free translation In order to enable the target audience to truly understand the connotation of the original film title, and to understand the information value, cultural value and aesthetic value of the original film title, it is necessary to give up the mechanical translation of the source language, but it is necessary to adopt free translation, but at the same time, the content of the original film title should be stored to the maximum extent, and it cannot be translated at will. In the process of translation, translators often use methods such as adding words, subtracting words, changing categories and expanding packages to convey the original content and enhance the appeal of film titles. Take the deer spot ratio as an example. If Bambi is literally translated into Bambi, it is impossible for the audience to know that this is a film suitable for children. Once "Bambi" was added before "Bambi" according to the plot of the film, the cute image of the deer in the play left a deep impression on the audience at once. In addition, adding "Little Deer" before "Little Deer" not only provides the information of the film, but also has aesthetic value and increases its commercial value. There are many excellent works like this, such as Madison County Bridge, Toy Story, Bathing Girl and so on. 4. Creative Translation Sometimes, in the translation of movie titles, it often happens that neither literal translation nor free translation can fully reflect the original content and stimulate the audience's aesthetic pleasure. In this case, the translator needs to give full play to his subjective initiative, put aside the form and content of the original title and make creative translation according to the original content. Chinese film title translators have many excellent works in this field, with beautiful words and proper words, which vividly reproduce the original content. For example, volcano translates into Wei, ghost translates into ghost, mission impossible translates into mission impossible, Sabrina translates into Paris, and airport translates into crying at nine o'clock. Creative translation of film titles pays more attention to the content of the source language than the source language of film titles, so that the language can convey the information of the original film as well as the feelings of the audience. It has strong appeal and aesthetic value. V. Conclusion In short, film title translation is not a simple mechanical copy of the content and form of the original film title, but a re-creation of the film title by transliteration, literal translation and free translation based on the full study and analysis of the content, source, language function and style characteristics of the original film title, according to the different psychology, cultural background and language habits of the audience. References: [1] Nord, Christian.2001. Translation is a purposeful behavior. Foreign Language Education Press [2] He Ying. Translation theory and method of movie titles J Foreign Language and Teaching 200 1 * * 1 * *. [3] Wang, Zhang Bixing. The application of Skopostheorie in film title translation J Journal of Northwestern University 2006***9***