你知道哪些類型的電影英文

Ⅰ 電影分為那幾類及英文名

action film （動作片）
document．ry 紀錄片，
kongfu film 武打片，
comedy 喜劇
tragedy 悲劇
detective film 偵探片
science fiction 科幻電影
disaster災難片
thriller 驚悚片
horror film 恐怖片
western 西部片
musical 音樂片
cartoon 動畫片
romance/love story 言情片
biographies（人物傳記）
auto biographies（自轉）
science fiction （科幻）
romance 愛情片
mystery（偵探）
cartoon 卡通片
main actor/actress 男主演/女主演 hero/heroine 男主角/女主角
director 導演 acting 演技 plot 情節
big scene 大場面 splendid landscape 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
happy ending 圓滿結局 touching 感人的
moving 令人感動的 tragic ending 悲劇結局

Ⅱ 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。

(2)你知道哪些類型的電影英文擴展閱讀：

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。

Ⅲ 跪求所有電影類型的英文單詞！

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自傳 sciencefiction科幻 romance浪漫 mystery偵探 horror恐怖 fantasy幻想片 cartoon卡通 happyending圓滿結局 tragicending悲劇結局

記得採納啊

Ⅳ 各種類型電影的英文名是

Action動作片 Drama劇情片 Comedy喜劇片 Romance愛情片 Thriller驚悚片 Sci-Fi科幻片 Animation動畫片 Mystery懸念片
Crime犯罪片 Alt成人片 Adventure冒險片 Documentary紀錄片
Family家庭片 Fantasy奇幻片 Film-Noir黑色片 Horror恐怖片 Music音樂片
Musical歌舞片 Short超短片 War戰爭片 Western西部片
鬼片(Ghost). 賀歲片(New Year Celebration)

Ⅳ 各種類型電影的英文名是

action film （動作片） document．ry 紀錄片， kongfu film 武打片， comedy 喜劇 tragedy 悲劇 detective film 偵探片 science fiction 科幻電影 disaster災難片 thriller 驚悚片 horror film 恐怖片 western 西部片 musical 音樂片 cartoon 動畫片 romance/love story 言情片 biographies（人物傳記） auto biographies（自轉） science fiction （科幻） romance 愛情片 mystery（偵探） cartoon 卡通片 main actor/actress 男主演/女主演 hero/heroine 男主角/女主角 director 導演 acting 演技 plot 情節 big scene 大場面 splendid landscape 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 happy ending 圓滿結局 touching 感人的 moving 令人感動的 tragic ending 悲劇結局

滿意請採納

Ⅵ 各種電影類型用英語怎麼說

1、喜劇片的英語就是comedy，其復數形式是comedies。浪漫喜劇是a romantic comedy，喜劇演員是comedian。而像老友記這樣的情景喜劇叫situation comedy，也可以直接說sitcom。

2、驚悚片英文是thriller，但這個詞更多是指有關犯罪和間諜的驚悚片。而像是鬼片之類的恐怖片應該是horror films/movies。

3、幻片的英語應該是science fiction，但是它也可以縮寫成sci-fi。科幻電影可以是sci-fi films而科幻小說是sci-fi novels。

4、復聯這種電影也經常被叫做好萊塢大片，而好萊塢大片英語應該是hollywood blockbuster。但是有一些科幻片也可以歸為動作片，而動作片的英語是action movies.

5、以宮崎駿為代表的動畫電影是animated film。宮崎駿的電影，以及迪士尼各種經典高分電影，雖然是以動畫的形式呈現，但是其實劇情是拍給大人看的。

Ⅶ 英語電影類型的表達方式及名稱

animated cartoon卡通片
autobiographical film自傳電影
comedy 戲劇
propaganda film宣傳片
silent film 無聲電影
sound film 有聲電影
suspense film 懸念片
telecine 電視電影
vaudeville 輕歌舞劇
drama 劇情片
action 動作片
disaster 災難片
thrill 恐怖片
road 公路片
alt 成人片
film-noir 黑色電影（描寫社會陰暗面的影片）
sci-fi film 科幻片（注意讀音為sai fai）

你好我是英語專業的 這些來自我的雅思詞彙和綜合英語課堂上老師講的內容。

Ⅷ 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.

Ⅸ 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

(9)你知道哪些類型的電影英文擴展閱讀

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。

Ⅹ 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

(10)你知道哪些類型的電影英文擴展閱讀：

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。