電影類型家庭英語

A. 問一個歐美喜劇電影的名字,叫什麼家庭的

中文片名
亞當斯一家
英文片名
The Addams Family
更多中文片名
阿達一族
愛登士家庭
影片類型
奇幻 / 家庭 / 恐怖 / 喜劇
片長
99 min
國家/地區
美國
對白語言
英語
色彩
彩色
導演
巴里·索南菲爾德 Barry Sonnenfeld
編劇
Charles Addams .....(characters)
Caroline Thompson .....(written by) &
Larry Wilson .....(written by)
演員
安傑麗卡·休斯頓 Anjelica Huston .....Morticia Addams
勞爾·朱力亞 Raul Julia .....Gomez Addams
克里斯托弗·洛伊德 Christopher Lloyd .....Uncle Fester/Gordon Craven
Elizabeth Wilson .....Abigail Craven/Dr. Greta Pinder-Schloss
克里斯蒂娜·里奇 Christina Ricci .....Wednesday Addams
Judith Malina .....Grandma
丹·哈達婭 Dan Hedaya .....Tully Alford, Addams' Attorney

劇情介紹

25年前，費斯特·亞當斯和他的弟弟戈梅斯發生了激烈的爭吵後，便消失不見了。現在，戈梅斯長大成人，並且幸福地和莫蒂西亞結為夫婦，還生了兩個兒女。他一直想念著失蹤的哥哥，所以每年舉行一次降神會，以保持和費斯特某些靈魂上的聯系。亞當斯家的律師塔利勾結艾比蓋爾想奪取亞當斯庄園，搶奪庄園里埋藏的大批金銀。他們讓艾比蓋爾之子戈登冒充失蹤多年的費斯特。戈登來到了降神會宣稱自己一直迷失在百慕大三角區。戈梅斯欣喜若狂地接待了他。戈登利用亞當斯家的內部矛盾，大施騙術。不久，塔利和艾比蓋爾的陰謀得到法院准許，將亞當斯一家驅逐出他們的公寓。為求生路，亞當斯一家只有分別尋找職業。莫蒂西亞回到庄園懇求「費斯特」幫助她，卻被塔利和艾比蓋爾抓住，受到殘酷折磨。只有一隻手的僕人辛救出了莫蒂西亞。塔利和艾比蓋爾兩個壞傢伙的陰謀被挫敗了。亞當斯一家的生活又恢復了正常。

B. 電影類型（例如功夫片，喜劇片，恐怖片等）用英語怎麼表示

action movie(動作片),
comic movie(喜劇電影),
horror movie(恐怖片),
affectional movie(愛情片),
tragic movie(悲情電影),
children's movie(兒童電影),
kongfu movie(功夫片),

C. 電影類型可以用英文怎樣說

主要類型的電影可以用英語這樣表達：友輪亂

1、喜劇：Comedy

2、冒險：Adventure

3、幻想：Fantasy

4、懸念：Mystery

5、驚悚：Thriller

6、戰爭：War

7、西部：Western

8、愛情：Romance

9、恐怖：Horror

10、動作：Action

11、科幻：Sci-Fi

12、犯罪：Crime

(3)電影類型家庭英語擴展閱讀：

所謂類型電影，是指由於不同題材或技巧而形成的影片范疇、種類或形式。按照不同類型 （或稱樣式）的規定要求製作出來的影片。其具有基本特徵：公式化的情節，定型化的人物，圖解式的視覺影像。主要類型影片有喜劇片、西部片、罪片、幻想片等。

類型電影的製作根據觀眾的心理特點，在一定時期內以某一類型作為製作重點，即採取所謂"熱潮更替"方式。在人們厭煩了西部片之後，便換上恐怖片，然後再繼之以其他類型影片，如此周轉不息，反復輪換。在諸多的影片類型中，最有典型性的是四個類型，即喜劇片、西部片、犯罪片、幻想片。

類型電影作為一種拍片方法，實質上是一種藝術產品標准化的規范。它的規定性和對影片創作者的強制力，只有在以製片人專權為特點的大製片廠制度下才有可能發生作用。因此，隨著桐鄭大製片廠制度在五十年代以後的逐漸解體，各種類型之間的嚴格界線趨於模糊，愈來愈成為一般意義上的樣式劃分了。

D. 電影的類型有什麼我要英文的

Film Genres

I INTRODUCTION
Film Genres, categories of film characterized by frequently recurring patterns of form, style, and, particularly, subject matter. There is no clear consensus among film historians and critics on the number of genres, or on the line of demarcation between one genre and another. This must be borne in mind when considering the following list of major genres: Adventure; Biography; Comedy; Drama and Melodrama; Fantasy/Horror/Science Fiction; Gangster/Crime/Spy/Film Noir; Musical; Problem Picture; War; Western. Some commentators would argue that the category 「Gangster/Crime/Spy/Film Noir」 clearly incorporates two, if not more, distinct genres, as it could be seen to include films as diverse as The Maltese Falcon (John Huston, 1941) and Sunset Boulevard (Billy Wilder, 1950). Similarly, the old instry category 「Women's Pics」 straddles at least two classifications: Film Noir and Melodrama. Only the Hollywood cinema has been considered. Obviously, genres exist in the popular cinemas of other countries, although, apart from such clear-cut exceptions as samurai films of Japan or kung fu pictures from Hong Kong, the categories applied are normally derived from Hollywood. Clearly there are interesting differences between, say, a British crime film and an American example, but on the whole these have yet to be studied. Differences between genres tend to be identified more in terms of themes, stars, use of costumes, and settings and locations, than in terms of specific aspects of film-making practice such as editing.

II HISTORICAL PERSPECTIVE
In the days of the studio proction lines, placement of films within genres tended to be part of the thinking of studio executives in their decisions about proction and marketing policy, and were reiterated in the trade papers. Thus, notions about many film genres actually preceded explicit critical analysis. While critical accounts of a film genre tend, appropriately, to be descriptive, the same ideas in the mind of a procer or accountant are often prescriptive, based on a notion of what audiences will find acceptable in, say, a Western.

When critics started to analyse Hollywood films in depth, this link with the collective, entertainment, money-making aspect of the proction system, rather than its initially unrecognized personal, artistic dimension, contributed to an emphasis on the negative aspects of the genres, for example, the limits their conventions imposed on creativity. However, as Colin McArthur argued in his pioneering genre study Underworld USA (1972): 「the responses of film-makers and audiences to the genres seem to offer a good prime facie case for believing that they are animating rather than neutral, that they carry particular charges of meaning independently of whatever is brought to them by particular directors.」

Certainly, it seems unlikely to be coincidence that much of the finest work of Howard Hawks, John Ford, Anthony Mann, and, more recently Clint Eastwood, has been in the Western genre. Nevertheless, only minor or mediocre directors can be said to be defined by their relationship to a genre, and each of the four cited has inflected the genre in significantly different ways, both stylistically and thematically, as well as having done important work in other genres.

III DEVELOPMENT OF GENRES
Clearly film genres change over time as society, the audience, and the institutions of proction change. New stars come along, new themes emerge, new conventions of characterization evolve. The exact nature of these shifts is largely outside the conscious awareness of those responsible for bringing them about, however. The procer, director, writer, and star tend to think in terms of decisions that will make a work more interesting, or generate a more compelling star role, rather than how to modify the genre in response to shifts in society.

Some points relating the development of particular genres to changes in film technology are simple and obvious: there is nothing incongruous about a silent Western, and the genre has been on the screen since The Great Train Robbery (1903, directed by Edwin S. Porter), but the idea of a silent musical is obviously ridiculous, despite the fact that live musical accompaniment ensured that most cinemas were never really silent. Similarly, continually improving techniques for special effects have given new life to the Fantasy/Science Fiction/Horror genre, from 2001: A Space Odyssey (Stanley Kubrick, 1968) on through Star Wars (George Lucas, 1977), and Close Encounters of the Third Kind (Steven Spielberg, 1977) to the cycle of Alien films (Ridley Scott, 1979; James Cameron, 1986; David Fincher, 1992).

Popular films are not a simple reflection of the society that proced them: they are complex texts, systems of discourse certain strands of which bear traces of particular features of the society that generated them. Exactly what mechanisms are involved, however, varies from case to case, and may often be impossible to tease out. Thus, comparisons made between characteristics of the indivial genres, or between one era and another, must be provisional and tentative.

For example, in the 1930s, the great period of the gangster film, there were few major Westerns, and those there were came at the start and end of the decade. In the era of classic Hollywood cinema (from the late 1920s to the decline of the studio system around 1960) both these genres regularly involved conflicts between good and evil.

However, perhaps because part of the gangster film's concern was to indicate the social origins of crime, it is typically the gangster's journey the audience follows, and thus there is strong, if only partial, identification with him. His refusal to accept the restrictions of the urban environment, together with the energy of his indivialism, made him a dangerously fascinating, possibly sympathetic, character when contrasted with the less colourful representatives of law and order.

Indeed, this patina of charisma has persisted through to the present. It is part of the complex appeal of The Godfather series (Francis Ford Coppola: Part I, 1972; Part II, 1974; Part III, 1990), inviting the audience to collude with the actions of Michael Corleone. In the more pastoral world of the classic Western, on the other hand, the hero may have been a loner, but he normally represented the best values of the community. Moreover, it was his progress the audience followed, and thus it was he with whom it identified. Consequently, he was the one with charisma, rather than the villain, whose ultimate defeat and death were not mourned in the same way as the classic gangster's.

Though attempts to specify precisely where Western and gangster genres fit in an overall account of the generic categories of popular cinema are likely to generate academic controversy, all commentators agree on their existence as genres. This makes them appropriate choices for the accounts of generic difference and change given above. Though much has been left out, this is an example of the kind of analysis that can be made in relation to other genres.

E. 各種電影類型用英語怎麼說

1、喜劇片的英語就是comedy，其復數形式是comedies。浪漫喜劇是a romantic comedy，喜劇演員是comedian。而像老友記這樣的情景喜劇叫situation comedy，也可以直接說sitcom。

2、驚悚片英文是thriller，但這個詞更多是指有關犯罪和間諜的驚悚片。而像是鬼片之類的恐怖片應該是horror films/movies。

3、幻片的英語應該是science fiction，但是它也可以縮寫成sci-fi。科幻電影可以是sci-fi films而科幻小說是sci-fi novels。

4、復聯這種電影也經常被叫做好萊塢大片，而好萊塢大片英語應該是hollywood blockbuster。但是有一些科幻片也可以歸為動作片，而動作片的英語是action movies.

5、以宮崎駿為代表的動畫電影是animated film。宮崎駿的電影，以及迪士尼各種經典高分電影，雖然是以動畫的形式呈現，但是其實劇情是拍給大人看的。

F. 關於電影種類的英文單詞

Action 動作
Adventure 冒險
Animation 動畫
Biography 傳記
Comedy 喜劇
Crime 犯擾嘩罪
Documentary 紀錄片
Drama 戲劇
Family 家庭
Fantasy 奇幻
History 歷史
Horror 恐怖帆虛
Independent獨緩轎行立電影
Musical 音樂劇
Mystery 解密
Romance 浪漫愛情
Sci-Fi 科幻
Short 短劇
Sport 運動
Thriller 驚悚
TV mini-series電視系列
War 戰爭
Western 西部

G. 家庭電影用英語怎麼說

Homemovies

按在做任務望採納

H. 電影種類的英語

喜劇：Comedy冒險:Adventure幻想:Fantasy懸念:Mystery驚悚:Thriller記錄:Documentary戰爭:War西部:Western愛情:Romance劇情:Drama恐怖:Horror動作:Action科幻:Sci-Fi音樂:musical家庭:Family film 犯罪:Crime

I. 各種類型電影的英文名是

Action動作片 Drama劇情片 Comedy喜劇片 Romance愛情片 Thriller驚悚片 Sci-Fi科幻片 Animation動畫片 Mystery懸念片
Crime犯罪片 Alt成人片 Adventure冒險片 Documentary紀錄片
Family家庭片 Fantasy奇幻片 Film-Noir黑色片 Horror恐怖片 Music音樂片
Musical歌舞片 Short超短片 War戰爭片 Western西部片
鬼片(Ghost). 賀歲片(New Year Celebration)

J. 關於電影分類的英語單詞

1、奇幻電影——Fantasy Film

包含魔法、超自然現實事件、或是幻想生物如龍、半獸人以及幻想世界如魔戒中的中土。

奇幻電影（Fantasy Film）在電影的劃分中可以與科幻電影以及恐怖電影（horror film）劃為同一類型，具有代表性的作品包括《指環王》《霍比特人》《哈利波特》。

2、動作片——Action Films

又稱為驚險動作片(Action-Adventure Films)，是以強烈緊張的驚險動作和視聽張力為核心的影片類型。具備巨大的沖擊力、持續的高效動能、一系列外在驚險動作和事件。

常常涉及追逐（徒步和交通工具）、營救、戰斗、毀滅性災難（洪水、爆炸、大火和自然災害等）、搏鬥、逃亡、持續的運動、驚人的節奏速度和歷險的角色。

3、喜劇電影——Comedy film

其中主要強調的是幽默。《電影藝術詞典》對喜劇片的定義是：「以產生結果是笑的效果為特徵的故事片。在總體上有完整的喜劇性構思，創造出喜劇性的人物和背景。

4、恐怖電影——Scary Movie

以製造恐怖為目的的一種影片。故事內容荒誕離奇，引起恐怖。如描寫鬼怪作祟、勾魂攝魄，描寫兇猛動物噬人等等，使觀眾毛骨悚然。

5、愛情電影——love film

中心劇情主要圍繞著故事主角戀愛關系發展的電影。該類電影常見的主題是，電影中的角色們基於相互間新發現的魅力而作出相應的決定。