關於電影分類的英文版

㈠ 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。

㈡ 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.

㈢ 電影有多少種類型用英語怎麼表達

電影類型主要有：Comedy喜劇、Thriller驚悚、Romance愛情、Horror恐怖、Action動作、Sci-Fi科幻、Crime犯罪、War戰爭。

音樂電影、黑幫電影、紀錄電影、公路電影、意識流電影、動畫電影、驚悚電影、西部電影、人物電影、飛車電影、家庭電影、超級英雄電影。其中，動畫電影包括卡通。

(3)關於電影分類的英文版擴展閱讀：

電影具有獨自的特徵，在藝術表現力上不但具有其它各種藝術的特徵，又因可以運用蒙太奇（法語：Montage）這種藝術性突躍的電影組接技巧，具有超越其它一切藝術的表現手段。

電影可以大量復制放映，隨著現代社會的發展，電影已深入到人類社會生活的方方面面，是人們日常生活不可或缺的一部分。

㈣ 電影種類的英文介紹

喜劇/Comedy 冒險/Adventure 驚悚/Thriller 記錄/Documentary 戰爭/War 愛情/Romance 恐怖/Horror 動作/Action 科幻/Sci-Fi 犯罪/Crime 愛情片 Romantic 動作片 Action 功夫片 Kung-Fu

(4)關於電影分類的英文版擴展閱讀

按題材、劇情類型分：

1.動作電影：

是以強烈緊張的驚險動作和視聽張力為核心的影片類型。

2.奇幻電影：

這類型的電影都大量的包含魔法、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。

3.喜劇電影：

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：

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：

指的`是那些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。

㈤ 有哪些種類的電影（用英語表達）

action movies 動作片
documentaries 紀錄片
thrillers 恐怖片
comedies 喜劇片
romance 愛情片
science fiction movies 科幻片

㈥ 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),

㈦ 電影類型的英語詞彙

action/adventure 動作冒險片

comedy 喜劇

romance愛情

drama劇情

fantasy 幻想

horror 恐怖片

thriller驚悚

tragedy 悲劇片

crime犯罪

war戰爭

mystery懸念

suspense thriller 懸疑片

musical 音樂喜劇

science fiction 科幻片

western 西部片

documentary 紀錄片

classic film經典電影

animation/cartoon 動畫片

㈧ 電影有多少種類型用英語怎麼表達

電影返山類型胡山(Film Genres) 喜劇片 edy 驚悚片 thriller 冒險片 adventure film 愛情片 romance film 紀錄片documentary恐怖片 horror film 動作片 action movie *** 片 crime & gangster film 科幻片 science fiction film 音樂劇 musical film史詩片 epics/historical film敘事片褲世中 Narrative movie戰爭片 war movie *** ethical movie 卡通片 cartoon預告片 Trailer 歌舞片 musical film西部片 western movie

㈨ 用英語表示各種電影分類，如：喜劇片（comedy）、恐怖片（horror）

newsreel 新聞片,紀錄片

documentary (film) 記錄片,文獻片

filmdom 電影界

literary film 文藝片

musicals 音樂片

comedy 喜劇片

tragedy 悲劇片

dracula movie 恐怖片

sowordsmen film 武俠片

detective film 偵探片

ethical film 倫理片

affectional film 愛情片

erotic film 黃色片

western movies 西部片

film d"avant-garde 前衛片

serial 系列片

trailer 預告片

cartoon (film) 卡通片,動畫片

full-length film, feature film 長片

short(film) 短片

colour film 彩色片 (美作:color film)

silent film 默片,無聲片

bbed film 配音復制的影片,譯製片

silent cinema, silent films 無聲電影

sound motion picture, talkie 有聲電影

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
犯罪/Crime
黑色/Film-Noir
短片/Short
體育/Sport
神話/Myth
功夫/Kong-Fu

㈩ 電影種類【英語單詞】

actionfilm動作片
documentary紀錄片
kongfufilm武打片
comedy喜劇
tragedy悲劇
detectivefilm偵探片
sciencefiction科幻電影
disaster災難片
thriller驚悚片
horrorfilm恐怖片
western西部片
musical音樂片
cartoon動畫片
romance/lovestory言情片
biographies人物傳記
autobiographies自轉
sciencefiction科幻
romance
mystery偵探
horror
fantasy
cartoon
mainactor/actress男主演/女主演hero/heroine男主角/女主角
director導演acting演技plot情節
bigscene大場面splendidlandscape秀麗的景色
intriguing引人入勝fascinating令人著迷的
terrific極好的relaxing令人放鬆的
happyending圓滿結局touching感人的
moving令人感動的tragicending悲劇結局