電影分類英文百度文庫

❶ 英語電影術語

關於電影的類型：documentary (film) 記錄片,文獻片、literary film 文藝片、musicals 音樂片、comedy 喜劇片、dracula movie 恐怖片

documentary (film) 記錄片,文獻片：紀錄片是以真實生活為創作素材，以真人真事為表現對象，並對其進行藝術的加工與展現的，以展現真實為本質，並用真實引發人們思考的電影或電視藝術形式。

literary film 文藝片：文學藝術影片的簡稱。文學性和藝術性並存，區別於商業電影。

musicals 音樂片：音樂片是類型片的一種，指以音樂生活為題材或音樂在其中佔有很大比重的影片。

comedy 喜劇片：喜劇片指以笑激發觀眾愛憎的影片。

dracula movie 恐怖片：「恐怖片」是以製造恐怖為目的的一種影片。

(1)電影分類英文百度文庫擴展閱讀：

演職人員名稱：assistant cameraman 攝影助理、property manager/propsman 道具員、art director 布景師、stagehand 化裝師、lighting engineer 燈光師、film cutter 剪輯師、sound engineer/recording director 錄音師、scenario writer, scenarist 劇作家、direction 導演、distributor 發行人

❷ 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

(2)電影分類英文百度文庫擴展閱讀

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。

❸ 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.

❹ 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。

❺ 電影干貨|常見的電影專業術語和電影詞彙（附中英文對照）

如果您從事著與影視相關的學習及工作，無論你是否選擇出國學習，了解電影的專業術語都是一門必修課！

廢話不多說，下面我整理了一些電影名詞供大家參考~

電影術語以及釋義

1、電影工業Film instry  

cinematograph 電影攝影機, 電影放映機  

cinema, pictures 電影院 (美作:movie theater)  

first-run cinema 首輪影院  

second-run cinema 二輪影院  

art theatre 藝術影院  

continuous performance cinema 循環場電影院  

film society 電影協會,電影俱樂部 (美作:film club)  

film library 電影資料館  

premiere 首映式  

film festival 電影節  

distributor 發行人  

Board of Censors 審查署  

shooting schele 攝制計劃  

censor』s certificate 審查級別  

release 准予上映  

banned film 禁映影片  

A-certificate A級(兒童不宜)  

U-certificate U級  

X-certificate X級(成人級)  

direction 導演  

proction 製片  

adaptation 改編  

scenario, screenplay, script 編劇  

scene 場景  

exterior 外景  

lighting 燈光  

shooting 攝制  

to shoot 拍攝  

dissolve 漸隱,化入,化出  

fade-out 淡出  

fade-in 淡入  

special effects 特技  

slow motion 慢鏡頭  

editing, cutting 剪接  

montage 剪輯  

recording, sound recording 錄音  

sound effects 音響效果  

mix, mixing 混錄  

bbing 配音  

postsynchronization 後期錄音合成  

studio 製片廠,攝影棚  

(motion)film studio 電影製片廠  

set, stage, floor 場地  

properties, props 道具  

dolly 移動式攝影小車  

spotlight 聚光燈  

clapper boards 拍板  

microphone 麥克風,話筒  

boom 長桿話筒  

scenery 布景  

2、電影攝制filming shooting  

camera 攝影機  

shooting angle 拍攝角度  

high angle shot 俯拍  

long shot 遠景  

full shot 全景  

close-up, close shot 特寫,近景  

medium shot 中景  

background 背景  

three-quarter shot 雙人近景  

pan 搖鏡頭  

frame, picture 鏡頭  

still 靜止  

double exposure 兩次曝光  

superimposition 疊印  

exposure meter 曝光表  

printing 洗印  

3、影片類型films types  

film, motion picture 影片,電影 (美作:movie)  

newsreel 新聞片,紀錄片  

documentary (film) 記錄片,文獻片  

filmdom 電影界  

literary film 文藝片  

musicals 音樂片  

comedy 喜劇片  

tragedy 悲劇片  

dracula movie 恐怖片  

sowordsmen film 武俠片  

detective film 偵探片  

ethical film 倫理片  

affectional film 愛情片  

erotic film 黃色片  

western movies 西部片  

film d』avant-garde 前衛片  

serial 系列片  

trailer 預告片  

cartoon (film) 卡通片,動畫片  

footage 影片長度  

full-length film, feature film 長片  

short(film) 短片  

colour film 彩色片 (美作:color film)  

silent film 默片,無聲片  

bbed film 配音復制的影片,譯製片  

silent cinema, silent films 無聲電影  

sound motion picture, talkie 有聲電影  

cinemascope, CinemaScope 西涅瑪斯科普型立體聲寬銀幕電影,變形鏡頭式寬銀幕電影  

cinerama, Cinerama 西涅拉瑪型立體聲寬銀幕電影,全景電影  

title 片名  

original version 原著  

dialogue 對白  

subtitles, subtitling 字幕  

credits, credit titles 對原作者及其他有貢獻者的謝啟和姓名  

4、奧斯卡獎英文表達法  

Best Picture最佳影片  

Best Director最佳導演  

Best Actor最佳男主角  

Best Actress最佳女主角  

Best Supporting Actor最佳男配角  

Best Supporting Actress最佳女配角  

Best Animated Feature Film最佳動畫長片  

Best Foreign Film最佳外語片  

Best Makeup最佳化妝獎  

Best Original Score最佳配樂獎  

Best Original Song最佳音樂  

Best Animated Short Film最佳動畫短片  

Best Live Action Short Film最佳真人短片  

Best Sound Editing最佳音效剪輯  

Best Sound Mixing最佳音響效果  

Best Visual Effects最佳視覺效  

Best Writing(Adapted Screen play)最佳改編劇本  

Best Art Direction最佳藝術執導  

Best Cinematography最佳攝影  

Best Costume Design最佳服裝設計  

Best Film Editing最佳剪輯  

Best Documentary最佳紀錄片  

Best Documentary ShortSubject最佳紀錄短片  

Honorary Academy Award終身成就獎 

❻ 電影類型的英文翻譯~~快~

分類: 外語/出國
問題描述:

有關電影類型的英文翻譯...全一點...什麼喜劇片,驚悚片~~送分喲..

解析:

literary film 文藝片

musicals 音樂片

edy 喜劇片

tragedy 悲劇片

dracula movie 恐怖片

soword *** en film 武俠片

detective film 偵探片

ethical film ***

sci-fi (film) 科幻片

affectional film 愛情片

erotic film 黃色片

western movies 西部片

film d'avant-garde 前衛片

serial 系列片

trailer 預告片

cartoon (film) 卡通片，動畫片

full-length film, feature film 長片

short(film) 短片

colour film 彩色片 (美作:color film)

silent film 默片，無聲片

bbed film 配音復制的影片，譯製片

silent cinema, silent films 無聲電影

sound motion picture, talkie 有聲電影

❼ 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。

(7)電影分類英文百度文庫擴展閱讀：

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。

❽ 類型電影的類型用英文怎麼表達

• Action: 動作電影，通常有大量的打鬥和特技場面。

• Adventure: 冒險電影，通常有探險、冒險和奇幻元素。

• Comedy: 喜劇電影，通常是以幽默和搞笑為主要元素的電影。

• Drama: 戲劇電影，通常是以人物內心與人際關系為主要元素的電影。

• Horror: 恐怖電影，通常是以恐怖、惡魔和恐怖生物為主要元素的電影。

• Romance: 愛情電影，通常是以愛情為主要元素的電影。

• Science fiction: 科幻電影，通常是以未來、太空、變形人和機器人為主要元素的電影。

• Thriller: 驚悚電影，通常是以懸疑、驚悚和恐怖元素為主要元素的電影。

• Western: 西部電影，通常是以美國西部歷史為背景的電影。

❾ 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。