类型电影英文

❶ 电影种类的英文说法

故事片/剧情片
Fiction/Feature
Film
纪录片
Documentary
Film
剧情纪录片
Docudrama
Film
新闻纪录影片
Newsreel
Film
动画片
Animation
Film
音乐歌舞片
Musical
Film
戏曲片
Chinese
Opera
舞台艺术片
Stage
Performance
短片
Short
Film
电影片种大概就上面几种
电影类型主要有下面这些
情节片
Drama
喜剧片
Comedy
爱情片
Romantic
动作片
Action
武侠片
Martial
Arts
功夫片
Kung-Fu
战争片
War
悬疑片
Thrill
恐怖片
Horror
神幻片
Fantasy
科幻片
Sci-fi
鬼片
Ghost
贺岁片
New
Year
Celebration
情色片
Erotic
成人片
Alt
应该就这些吧
不知道是不是你要的...

❷ 电影种类【英语单词】

文艺片literary story
战争片war movie
侦探片detective story
爱情片affectional film
悬疑片 suspense film

❸ 电影有哪几种类型，（*英文的）

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/Music
家庭/Music
犯罪/Crime
成人/Alt

❹ 各种类型电影的英文名是

1.动作电影：Action 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为主要元素的影片。

2.奇幻电影：Fantasy Film

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：Comedy film

主要艺术手段是发掘生活中的可笑现象，作夸张的处理，达到真实和夸张的统一。其目的是通过笑来颂扬美好、进步的事物或理想，讽刺或嘲笑落后现象，在笑声中娱乐和教育观众。

4.科幻电影：science fiction film

科幻片所采用的科学理论并不一定被主流科学界接受，例如外星生命、外星球、超能力或时间旅行等等。科幻电影常常使用可能的未来世界作为故事背景，用宇宙飞船、机器人或其他超越时代的科技等元素彰显与现实之间的差异。

5.动画电影：Animation Movie

动画电影是指以动画形式制作的大型电影。通常我们所说的动画电影包括剧场版，OVA。但是严格意义上的动画电影与剧场版电影动画不同的是动画电影故事取材并不是由动画剧或OVA中取材。从动画剧或OVA取材的称为剧场版或电影动画。

❺ 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.

❻ 各种电影类型英语怎么说

drama-剧情片
romance-爱情片
romanticcomedy-浪漫喜剧
adventure-冒险
fantasy-幻想
thriller-惊悚片
mystery-神秘片
horror-恐怖片
action-动作片
...太多啦..有空去imdb英文版网站上多看看就知道了。。

❼ 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。

❽ 不同类型的电影用英语怎么说啊

different kinds of movies
注意：movie 要加S.

❾ 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。

(9)类型电影英文扩展阅读：

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。