电影分类英文百度文库

❶ 英语电影术语

关于电影的类型：documentary (film) 记录片,文献片、literary film 文艺片、musicals 音乐片、comedy 喜剧片、dracula movie 恐怖片

documentary (film) 记录片,文献片：纪录片是以真实生活为创作素材，以真人真事为表现对象，并对其进行艺术的加工与展现的，以展现真实为本质，并用真实引发人们思考的电影或电视艺术形式。

literary film 文艺片：文学艺术影片的简称。文学性和艺术性并存，区别于商业电影。

musicals 音乐片：音乐片是类型片的一种，指以音乐生活为题材或音乐在其中占有很大比重的影片。

comedy 喜剧片：喜剧片指以笑激发观众爱憎的影片。

dracula movie 恐怖片：“恐怖片”是以制造恐怖为目的的一种影片。

(1)电影分类英文百度文库扩展阅读：

演职人员名称：assistant cameraman 摄影助理、property manager/propsman 道具员、art director 布景师、stagehand 化装师、lighting engineer 灯光师、film cutter 剪辑师、sound engineer/recording director 录音师、scenario writer, scenarist 剧作家、direction 导演、distributor 发行人

❷ 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

(2)电影分类英文百度文库扩展阅读

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。

❸ 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.

❹ 各种电影类型用英语怎么说

1、喜剧片的英语就是comedy，其复数形式是comedies。浪漫喜剧是a romantic comedy，喜剧演员是comedian。而像老友记这样的情景喜剧叫situation comedy，也可以直接说sitcom。

2、惊悚片英文是thriller，但这个词更多是指有关犯罪和间谍的惊悚片。而像是鬼片之类的恐怖片应该是horror films/movies。

3、幻片的英语应该是science fiction，但是它也可以缩写成sci-fi。科幻电影可以是sci-fi films而科幻小说是sci-fi novels。

4、复联这种电影也经常被叫做好莱坞大片，而好莱坞大片英语应该是hollywood blockbuster。但是有一些科幻片也可以归为动作片，而动作片的英语是action movies.

5、以宫崎骏为代表的动画电影是animated film。宫崎骏的电影，以及迪士尼各种经典高分电影，虽然是以动画的形式呈现，但是其实剧情是拍给大人看的。

❺ 电影干货|常见的电影专业术语和电影词汇（附中英文对照）

如果您从事着与影视相关的学习及工作，无论你是否选择出国学习，了解电影的专业术语都是一门必修课！

废话不多说，下面我整理了一些电影名词供大家参考~

电影术语以及释义

1、电影工业Film instry  

cinematograph 电影摄影机, 电影放映机  

cinema, pictures 电影院 (美作:movie theater)  

first-run cinema 首轮影院  

second-run cinema 二轮影院  

art theatre 艺术影院  

continuous performance cinema 循环场电影院  

film society 电影协会,电影俱乐部 (美作:film club)  

film library 电影资料馆  

premiere 首映式  

film festival 电影节  

distributor 发行人  

Board of Censors 审查署  

shooting schele 摄制计划  

censor’s certificate 审查级别  

release 准予上映  

banned film 禁映影片  

A-certificate A级(儿童不宜)  

U-certificate U级  

X-certificate X级(成人级)  

direction 导演  

proction 制片  

adaptation 改编  

scenario, screenplay, script 编剧  

scene 场景  

exterior 外景  

lighting 灯光  

shooting 摄制  

to shoot 拍摄  

dissolve 渐隐,化入,化出  

fade-out 淡出  

fade-in 淡入  

special effects 特技  

slow motion 慢镜头  

editing, cutting 剪接  

montage 剪辑  

recording, sound recording 录音  

sound effects 音响效果  

mix, mixing 混录  

bbing 配音  

postsynchronization 后期录音合成  

studio 制片厂,摄影棚  

(motion)film studio 电影制片厂  

set, stage, floor 场地  

properties, props 道具  

dolly 移动式摄影小车  

spotlight 聚光灯  

clapper boards 拍板  

microphone 麦克风,话筒  

boom 长杆话筒  

scenery 布景  

2、电影摄制filming shooting  

camera 摄影机  

shooting angle 拍摄角度  

high angle shot 俯拍  

long shot 远景  

full shot 全景  

close-up, close shot 特写,近景  

medium shot 中景  

background 背景  

three-quarter shot 双人近景  

pan 摇镜头  

frame, picture 镜头  

still 静止  

double exposure 两次曝光  

superimposition 叠印  

exposure meter 曝光表  

printing 洗印  

3、影片类型films types  

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

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  

footage 影片长度  

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  

cinemascope, CinemaScope 西涅玛斯科普型立体声宽银幕电影,变形镜头式宽银幕电影  

cinerama, Cinerama 西涅拉玛型立体声宽银幕电影,全景电影  

title 片名  

original version 原着  

dialogue 对白  

subtitles, subtitling 字幕  

credits, credit titles 对原作者及其他有贡献者的谢启和姓名  

4、奥斯卡奖英文表达法  

Best Picture最佳影片  

Best Director最佳导演  

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最佳动画长片  

Best Foreign Film最佳外语片  

Best Makeup最佳化妆奖  

Best Original Score最佳配乐奖  

Best Original Song最佳音乐  

Best Animated Short Film最佳动画短片  

Best Live Action Short Film最佳真人短片  

Best Sound Editing最佳音效剪辑  

Best Sound Mixing最佳音响效果  

Best Visual Effects最佳视觉效  

Best Writing(Adapted Screen play)最佳改编剧本  

Best Art Direction最佳艺术执导  

Best Cinematography最佳摄影  

Best Costume Design最佳服装设计  

Best Film Editing最佳剪辑  

Best Documentary最佳纪录片  

Best Documentary ShortSubject最佳纪录短片  

Honorary Academy Award终身成就奖 

❻ 电影类型的英文翻译~~快~

分类: 外语/出国
问题描述:

有关电影类型的英文翻译...全一点...什么喜剧片,惊悚片~~送分哟..

解析:

literary film 文艺片

musicals 音乐片

edy 喜剧片

tragedy 悲剧片

dracula movie 恐怖片

soword *** en film 武侠片

detective film 侦探片

ethical film ***

sci-fi (film) 科幻片

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

❼ 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。

(7)电影分类英文百度文库扩展阅读：

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。

❽ 类型电影的类型用英文怎么表达

• Action: 动作电影，通常有大量的打斗和特技场面。

• Adventure: 冒险电影，通常有探险、冒险和奇幻元素。

• Comedy: 喜剧电影，通常是以幽默和搞笑为主要元素的电影。

• Drama: 戏剧电影，通常是以人物内心与人际关系为主要元素的电影。

• Horror: 恐怖电影，通常是以恐怖、恶魔和恐怖生物为主要元素的电影。

• Romance: 爱情电影，通常是以爱情为主要元素的电影。

• Science fiction: 科幻电影，通常是以未来、太空、变形人和机器人为主要元素的电影。

• Thriller: 惊悚电影，通常是以悬疑、惊悚和恐怖元素为主要元素的电影。

• Western: 西部电影，通常是以美国西部历史为背景的电影。

❾ 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。