As Chinese children’s animated films increasingly permeate the global market, their titles act as pivotal paratexts that mold young audiences’ initial impressions, emotional involvement, and interpretive anticipations. Translating these titles is far more than a mere linguistic conversion; it is a sophisticated process of contextual reconstruction, shaped by disparities in linguistic structures, cultural cognition, and audience reception across China and the English-speaking world. Grounded in the Boundary Compression framework, this study investigates how Chinese children’s animated film titles are translated into English to align with the cognitive developmental stages and affective demands of young global viewers. It posits that effective translation entails compressing process-oriented Chinese linguistic expressions into result-oriented English forms, while simultaneously enhancing cognitive accessibility and emotional resonance for the target juvenile audience. Through case analyses of representative Chinese children’s animated films, including Ne Zha, Boonie Bears, and Big Fish & Begonia, this paper identifies five core Boundary Compression strategies-classificatory, eliminative, implicative, fixed-point, and prospective compression-and dissects how each strategy facilitates the reconstruction of narrative meaning, thematic focus, and affective appeal in English translations. By integrating cognitive translation studies and affect theory, this research addresses the gap in existing scholarship on children’s media translation beyond Euro-Americancentric perspectives, and contributes to broader discourses on translational convergences and divergences in global children’s literature and audiovisual media. It further explores how cultural values and aesthetic sensibilities inherent in Chinese animated film titles are mediated and rearticulated through translation, fostering cross-cultural exchange in the juvenile media landscape.