電影的種類英文

Ⅰ 求電影的分類(要英文的)

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/Music
家庭/Music
犯罪/Crime

Ⅱ 電影種類的英語

恐怖片。 thirrer
喜劇 comedy
動作片 documencary
action muvie

Ⅲ 電影的各種類型用英語怎樣說

feature films故事片
documentary films紀錄片
cartoons卡通片
romances films愛情片
detective films偵探片
horror films恐怖片
war films戰爭片
science-fiction films科幻片
action films動作片(武打片）
police and ganster films警匪片
disaster films災難片
comedy喜劇片
tragedy悲劇片
這些都是我們外語系寫作課的時候講的，放心吧

Ⅳ 各種類型電影的英文名是

1.動作電影：Action 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為主要元素的影片。

2.奇幻電影：Fantasy Film

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：Comedy film

主要藝術手段是發掘生活中的可笑現象，作誇張的處理，達到真實和誇張的統一。其目的是通過笑來頌揚美好、進步的事物或理想，諷刺或嘲笑落後現象，在笑聲中娛樂和教育觀眾。

4.科幻電影：science fiction film

科幻片所採用的科學理論並不一定被主流科學界接受，例如外星生命、外星球、超能力或時間旅行等等。科幻電影常常使用可能的未來世界作為故事背景，用宇宙飛船、機器人或其他超越時代的科技等元素彰顯與現實之間的差異。

5.動畫電影：Animation Movie

動畫電影是指以動畫形式製作的大型電影。通常我們所說的動畫電影包括劇場版，OVA。但是嚴格意義上的動畫電影與劇場版電影動畫不同的是動畫電影故事取材並不是由動畫劇或OVA中取材。從動畫劇或OVA取材的稱為劇場版或電影動畫。

Ⅳ 電影有哪幾種類型，（*英文的）

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/Music
家庭/Music
犯罪/Crime
成人/Alt

Ⅵ 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.

Ⅶ 如何用英語表達不同的電影類型

主要類型的電影可以用英語這樣表達：

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

(7)電影的種類英文擴展閱讀：

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。

Ⅷ 電影種類【英語單詞】

文藝片literary story
戰爭片war movie
偵探片detective story
愛情片affectional film
懸疑片 suspense film

Ⅸ 電影種類的英文說法

故事片/劇情片
Fiction/Feature
Film
紀錄片
Documentary
Film
劇情紀錄片
Docudrama
Film
新聞紀錄影片
Newsreel
Film
動畫片
Animation
Film
音樂歌舞片
Musical
Film
戲曲片
Chinese
Opera
舞台藝術片
Stage
Performance
短片
Short
Film
電影片種大概就上面幾種
電影類型主要有下面這些
情節片
Drama
喜劇片
Comedy
愛情片
Romantic
動作片
Action
武俠片
Martial
Arts
功夫片
Kung-Fu
戰爭片
War
懸疑片
Thrill
恐怖片
Horror
神幻片
Fantasy
科幻片
Sci-fi
鬼片
Ghost
賀歲片
New
Year
Celebration
情色片
Erotic
成人片
Alt
應該就這些吧
不知道是不是你要的...

Ⅹ 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。

(10)電影的種類英文擴展閱讀：

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。