电影类型家庭英语

A. 问一个欧美喜剧电影的名字,叫什么家庭的

中文片名
亚当斯一家
英文片名
The Addams Family
更多中文片名
阿达一族
爱登士家庭
影片类型
奇幻 / 家庭 / 恐怖 / 喜剧
片长
99 min
国家/地区
美国
对白语言
英语
色彩
彩色
导演
巴里·索南菲尔德 Barry Sonnenfeld
编剧
Charles Addams .....(characters)
Caroline Thompson .....(written by) &
Larry Wilson .....(written by)
演员
安杰丽卡·休斯顿 Anjelica Huston .....Morticia Addams
劳尔·朱力亚 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·哈达娅 Dan Hedaya .....Tully Alford, Addams' Attorney

剧情介绍

25年前，费斯特·亚当斯和他的弟弟戈梅斯发生了激烈的争吵后，便消失不见了。现在，戈梅斯长大成人，并且幸福地和莫蒂西亚结为夫妇，还生了两个儿女。他一直想念着失踪的哥哥，所以每年举行一次降神会，以保持和费斯特某些灵魂上的联系。亚当斯家的律师塔利勾结艾比盖尔想夺取亚当斯庄园，抢夺庄园里埋藏的大批金银。他们让艾比盖尔之子戈登冒充失踪多年的费斯特。戈登来到了降神会宣称自己一直迷失在百慕大三角区。戈梅斯欣喜若狂地接待了他。戈登利用亚当斯家的内部矛盾，大施骗术。不久，塔利和艾比盖尔的阴谋得到法院准许，将亚当斯一家驱逐出他们的公寓。为求生路，亚当斯一家只有分别寻找职业。莫蒂西亚回到庄园恳求“费斯特”帮助她，却被塔利和艾比盖尔抓住，受到残酷折磨。只有一只手的仆人辛救出了莫蒂西亚。塔利和艾比盖尔两个坏家伙的阴谋被挫败了。亚当斯一家的生活又恢复了正常。

B. 电影类型（例如功夫片，喜剧片，恐怖片等）用英语怎么表示

action movie(动作片),
comic movie(喜剧电影),
horror movie(恐怖片),
affectional movie(爱情片),
tragic movie(悲情电影),
children's movie(儿童电影),
kongfu movie(功夫片),

C. 电影类型可以用英文怎样说

主要类型的电影可以用英语这样表达：友轮乱

1、喜剧：Comedy

2、冒险：Adventure

3、幻想：Fantasy

4、悬念：Mystery

5、惊悚：Thriller

6、战争：War

7、西部：Western

8、爱情：Romance

9、恐怖：Horror

10、动作：Action

11、科幻：Sci-Fi

12、犯罪：Crime

(3)电影类型家庭英语扩展阅读：

所谓类型电影，是指由于不同题材或技巧而形成的影片范畴、种类或形式。按照不同类型 （或称样式）的规定要求制作出来的影片。其具有基本特征：公式化的情节，定型化的人物，图解式的视觉影像。主要类型影片有喜剧片、西部片、罪片、幻想片等。

类型电影的制作根据观众的心理特点，在一定时期内以某一类型作为制作重点，即采取所谓"热潮更替"方式。在人们厌烦了西部片之后，便换上恐怖片，然后再继之以其他类型影片，如此周转不息，反复轮换。在诸多的影片类型中，最有典型性的是四个类型，即喜剧片、西部片、犯罪片、幻想片。

类型电影作为一种拍片方法，实质上是一种艺术产品标准化的规范。它的规定性和对影片创作者的强制力，只有在以制片人专权为特点的大制片厂制度下才有可能发生作用。因此，随着桐郑大制片厂制度在五十年代以后的逐渐解体，各种类型之间的严格界线趋于模糊，愈来愈成为一般意义上的样式划分了。

D. 电影的类型有什么我要英文的

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. 各种电影类型用英语怎么说

1、喜剧片的英语就是comedy，其复数形式是comedies。浪漫喜剧是a romantic comedy，喜剧演员是comedian。而像老友记这样的情景喜剧叫situation comedy，也可以直接说sitcom。

2、惊悚片英文是thriller，但这个词更多是指有关犯罪和间谍的惊悚片。而像是鬼片之类的恐怖片应该是horror films/movies。

3、幻片的英语应该是science fiction，但是它也可以缩写成sci-fi。科幻电影可以是sci-fi films而科幻小说是sci-fi novels。

4、复联这种电影也经常被叫做好莱坞大片，而好莱坞大片英语应该是hollywood blockbuster。但是有一些科幻片也可以归为动作片，而动作片的英语是action movies.

5、以宫崎骏为代表的动画电影是animated film。宫崎骏的电影，以及迪士尼各种经典高分电影，虽然是以动画的形式呈现，但是其实剧情是拍给大人看的。

F. 关于电影种类的英文单词

Action 动作
Adventure 冒险
Animation 动画
Biography 传记
Comedy 喜剧
Crime 犯扰哗罪
Documentary 纪录片
Drama 戏剧
Family 家庭
Fantasy 奇幻
History 历史
Horror 恐怖帆虚
Independent独缓轿行立电影
Musical 音乐剧
Mystery 解密
Romance 浪漫爱情
Sci-Fi 科幻
Short 短剧
Sport 运动
Thriller 惊悚
TV mini-series电视系列
War 战争
Western 西部

G. 家庭电影用英语怎么说

Homemovies

按在做任务望采纳

H. 电影种类的英语

喜剧：Comedy冒险:Adventure幻想:Fantasy悬念:Mystery惊悚:Thriller记录:Documentary战争:War西部:Western爱情:Romance剧情:Drama恐怖:Horror动作:Action科幻:Sci-Fi音乐:musical家庭:Family film 犯罪:Crime

I. 各种类型电影的英文名是

Action动作片 Drama剧情片 Comedy喜剧片 Romance爱情片 Thriller惊悚片 Sci-Fi科幻片 Animation动画片 Mystery悬念片
Crime犯罪片 Alt成人片 Adventure冒险片 Documentary纪录片
Family家庭片 Fantasy奇幻片 Film-Noir黑色片 Horror恐怖片 Music音乐片
Musical歌舞片 Short超短片 War战争片 Western西部片
鬼片(Ghost). 贺岁片(New Year Celebration)

J. 关于电影分类的英语单词

1、奇幻电影——Fantasy Film

包含魔法、超自然现实事件、或是幻想生物如龙、半兽人以及幻想世界如魔戒中的中土。

奇幻电影（Fantasy Film）在电影的划分中可以与科幻电影以及恐怖电影（horror film）划为同一类型，具有代表性的作品包括《指环王》《霍比特人》《哈利波特》。

2、动作片——Action Films

又称为惊险动作片(Action-Adventure Films)，是以强烈紧张的惊险动作和视听张力为核心的影片类型。具备巨大的冲击力、持续的高效动能、一系列外在惊险动作和事件。

常常涉及追逐（徒步和交通工具）、营救、战斗、毁灭性灾难（洪水、爆炸、大火和自然灾害等）、搏斗、逃亡、持续的运动、惊人的节奏速度和历险的角色。

3、喜剧电影——Comedy film

其中主要强调的是幽默。《电影艺术词典》对喜剧片的定义是：“以产生结果是笑的效果为特征的故事片。在总体上有完整的喜剧性构思，创造出喜剧性的人物和背景。

4、恐怖电影——Scary Movie

以制造恐怖为目的的一种影片。故事内容荒诞离奇，引起恐怖。如描写鬼怪作祟、勾魂摄魄，描写凶猛动物噬人等等，使观众毛骨悚然。

5、爱情电影——love film

中心剧情主要围绕着故事主角恋爱关系发展的电影。该类电影常见的主题是，电影中的角色们基于相互间新发现的魅力而作出相应的决定。