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【abstract】When Shakespeare’s translation was introduced into the film and television， it produced an intertextual dialogue with the film and television art， the translation of the text from the previous text became an important part of the film and television works， shouldering the important responsibility to show the theme， the laying of plot and characterization.
【Key words】Shakespeare； translation； comparison
First， the climax of Shakespeare’s Poetry
For some of the films and television dramas that are not good， especially the commercial films that cater to the market， the classic translation of the theme can undoubtedly improve the quality. Those poems which have been throughout history and have great spiritual connotation virtually establish spiritual intertextual dialogue between characters and poets. This not only shapes the psychological activities of the characters， but also displays the spiritual characteristics of the characters. It also enriches the flat characters. In terms of the translation of the theme of the film， the translation with beautiful， metaphorical and general language features are unmatched by other languages. It is precise and can leave aftertaste and vast daydream space to the readers because the language is not straightforward. For example， at the end of “the legend of the lion”， the introduction of the twenty-ninth translations just brought the imaginary space to the love between Vincent and Catherine.
Perhaps， some of the invisible features of the translation itself can only be revealed more fully and completely through the form of the film. We can also imagine that in the future， translation will have more neglected things excavated by technology.
Second， Shakespeare’s incomplete in the image world
（1） the disappearance of the whole beauty
The fragmented and non-centralized features of postmodern society lead to fragmentation of information. Any concept and knowledge structure can be arbitrarily combined and spliced， and eventually woven into a knowledge field covering all kinds of information. Translation did not escape the fate：the verse was arbitrarily broken up， and was introduced into the film and television drama at random. However， the problem caused by the split and interception of the verse is the vanish of the beauty of translation as a whole.
Thus， in the process of turning to film and television， the lack of rhyme， or the lack of content， to some extent， eliminate the overall beauty of translation. （2） vanished beauty of loneliness
When translation is introduced into the film， the inherent beauty of solitude is lost.
When talking about the movie， people can freely comment on a few， but turns to translation， most people will become cautious， fearing even cynical. The reason is very simple. Translation is the product of the poets’ private creation， and the film is the crystallization of group wisdom. When the poets’ loneliness was displayed in the film and television art， it will lose the original private and pure part. Therefore， translation is no longer mysterious， unreachable， and can even be deconstructed in images.
Last， the popularity of Shakespeare’s poems
The “no depth” culture in post-modern consumer society emphasizes the elimination of the distance between art and daily life， and the disappearance of the boundary between elegant culture and popular culture. Mass media provide people with numerous images of fascination， breaking the boundaries between art and reality， and the reality presented in an aesthetic way.
In the consumer society， art has been integrated into every aspect of human life. Copy and communication means of film and television ads and modern media strong so that people everywhere can see the art of illusion， given a hitherto unknown mass culture artistic sense and elegant culture monopoly was broken completely. When an ordinary commodity in life is endowed with the connotation of art， the boundary between the public and the elegant is slowly being dispelled.
References：
[1]（France）Monique Karl C Marcel，Jeanne Mary Claire； translated by Liu Fang.Literature and film adaptation of[M].Beijing：culture and Art Publishing House，2005.
[2]（France）Gerard Bay East； translated by Yuan Wenqiang.The film aesthetics[M].Beijing：the Commercial Press，1997.
【Key words】Shakespeare； translation； comparison
First， the climax of Shakespeare’s Poetry
For some of the films and television dramas that are not good， especially the commercial films that cater to the market， the classic translation of the theme can undoubtedly improve the quality. Those poems which have been throughout history and have great spiritual connotation virtually establish spiritual intertextual dialogue between characters and poets. This not only shapes the psychological activities of the characters， but also displays the spiritual characteristics of the characters. It also enriches the flat characters. In terms of the translation of the theme of the film， the translation with beautiful， metaphorical and general language features are unmatched by other languages. It is precise and can leave aftertaste and vast daydream space to the readers because the language is not straightforward. For example， at the end of “the legend of the lion”， the introduction of the twenty-ninth translations just brought the imaginary space to the love between Vincent and Catherine.
Perhaps， some of the invisible features of the translation itself can only be revealed more fully and completely through the form of the film. We can also imagine that in the future， translation will have more neglected things excavated by technology.
Second， Shakespeare’s incomplete in the image world
（1） the disappearance of the whole beauty
The fragmented and non-centralized features of postmodern society lead to fragmentation of information. Any concept and knowledge structure can be arbitrarily combined and spliced， and eventually woven into a knowledge field covering all kinds of information. Translation did not escape the fate：the verse was arbitrarily broken up， and was introduced into the film and television drama at random. However， the problem caused by the split and interception of the verse is the vanish of the beauty of translation as a whole.
Thus， in the process of turning to film and television， the lack of rhyme， or the lack of content， to some extent， eliminate the overall beauty of translation. （2） vanished beauty of loneliness
When translation is introduced into the film， the inherent beauty of solitude is lost.
When talking about the movie， people can freely comment on a few， but turns to translation， most people will become cautious， fearing even cynical. The reason is very simple. Translation is the product of the poets’ private creation， and the film is the crystallization of group wisdom. When the poets’ loneliness was displayed in the film and television art， it will lose the original private and pure part. Therefore， translation is no longer mysterious， unreachable， and can even be deconstructed in images.
Last， the popularity of Shakespeare’s poems
The “no depth” culture in post-modern consumer society emphasizes the elimination of the distance between art and daily life， and the disappearance of the boundary between elegant culture and popular culture. Mass media provide people with numerous images of fascination， breaking the boundaries between art and reality， and the reality presented in an aesthetic way.
In the consumer society， art has been integrated into every aspect of human life. Copy and communication means of film and television ads and modern media strong so that people everywhere can see the art of illusion， given a hitherto unknown mass culture artistic sense and elegant culture monopoly was broken completely. When an ordinary commodity in life is endowed with the connotation of art， the boundary between the public and the elegant is slowly being dispelled.
References：
[1]（France）Monique Karl C Marcel，Jeanne Mary Claire； translated by Liu Fang.Literature and film adaptation of[M].Beijing：culture and Art Publishing House，2005.
[2]（France）Gerard Bay East； translated by Yuan Wenqiang.The film aesthetics[M].Beijing：the Commercial Press，1997.