关于电影分类的英文版

㈠ 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。

㈡ 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.

㈢ 电影有多少种类型用英语怎么表达

电影类型主要有：Comedy喜剧、Thriller惊悚、Romance爱情、Horror恐怖、Action动作、Sci-Fi科幻、Crime犯罪、War战争。

音乐电影、黑帮电影、纪录电影、公路电影、意识流电影、动画电影、惊悚电影、西部电影、人物电影、飞车电影、家庭电影、超级英雄电影。其中，动画电影包括卡通。

(3)关于电影分类的英文版扩展阅读：

电影具有独自的特征，在艺术表现力上不但具有其它各种艺术的特征，又因可以运用蒙太奇（法语：Montage）这种艺术性突跃的电影组接技巧，具有超越其它一切艺术的表现手段。

电影可以大量复制放映，随着现代社会的发展，电影已深入到人类社会生活的方方面面，是人们日常生活不可或缺的一部分。

㈣ 电影种类的英文介绍

喜剧/Comedy 冒险/Adventure 惊悚/Thriller 记录/Documentary 战争/War 爱情/Romance 恐怖/Horror 动作/Action 科幻/Sci-Fi 犯罪/Crime 爱情片 Romantic 动作片 Action 功夫片 Kung-Fu

(4)关于电影分类的英文版扩展阅读

按题材、剧情类型分：

1.动作电影：

是以强烈紧张的惊险动作和视听张力为核心的影片类型。

2.奇幻电影：

这类型的电影都大量的包含魔法、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。

3.喜剧电影：

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：

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：

指的`是那些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。

㈤ 有哪些种类的电影（用英语表达）

action movies 动作片
documentaries 纪录片
thrillers 恐怖片
comedies 喜剧片
romance 爱情片
science fiction movies 科幻片

㈥ 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),

㈦ 电影类型的英语词汇

action/adventure 动作冒险片

comedy 喜剧

romance爱情

drama剧情

fantasy 幻想

horror 恐怖片

thriller惊悚

tragedy 悲剧片

crime犯罪

war战争

mystery悬念

suspense thriller 悬疑片

musical 音乐喜剧

science fiction 科幻片

western 西部片

documentary 纪录片

classic film经典电影

animation/cartoon 动画片

㈧ 电影有多少种类型用英语怎么表达

电影返山类型胡山(Film Genres) 喜剧片 edy 惊悚片 thriller 冒险片 adventure film 爱情片 romance film 纪录片documentary恐怖片 horror film 动作片 action movie *** 片 crime & gangster film 科幻片 science fiction film 音乐剧 musical film史诗片 epics/historical film叙事片裤世中 Narrative movie战争片 war movie *** ethical movie 卡通片 cartoon预告片 Trailer 歌舞片 musical film西部片 western movie

㈨ 用英语表示各种电影分类，如：喜剧片（comedy）、恐怖片（horror）

newsreel 新闻片,纪录片

documentary (film) 记录片,文献片

filmdom 电影界

literary film 文艺片

musicals 音乐片

comedy 喜剧片

tragedy 悲剧片

dracula movie 恐怖片

sowordsmen film 武侠片

detective film 侦探片

ethical film 伦理片

affectional film 爱情片

erotic film 黄色片

western movies 西部片

film d"avant-garde 前卫片

serial 系列片

trailer 预告片

cartoon (film) 卡通片,动画片

full-length film, feature film 长片

short(film) 短片

colour film 彩色片 (美作:color film)

silent film 默片,无声片

bbed film 配音复制的影片,译制片

silent cinema, silent films 无声电影

sound motion picture, talkie 有声电影

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
犯罪/Crime
黑色/Film-Noir
短片/Short
体育/Sport
神话/Myth
功夫/Kong-Fu

㈩ 电影种类【英语单词】

actionfilm动作片
documentary纪录片
kongfufilm武打片
comedy喜剧
tragedy悲剧
detectivefilm侦探片
sciencefiction科幻电影
disaster灾难片
thriller惊悚片
horrorfilm恐怖片
western西部片
musical音乐片
cartoon动画片
romance/lovestory言情片
biographies人物传记
autobiographies自转
sciencefiction科幻
romance
mystery侦探
horror
fantasy
cartoon
mainactor/actress男主演/女主演hero/heroine男主角/女主角
director导演acting演技plot情节
bigscene大场面splendidlandscape秀丽的景色
intriguing引人入胜fascinating令人着迷的
terrific极好的relaxing令人放松的
happyending圆满结局touching感人的
moving令人感动的tragicending悲剧结局