電影類型的中英文名稱

Ⅰ 外國電影名，越多越好（中文和英文名）

1、《Fast & Furious》

《速度與激情》（Fast & Furious）是羅伯·科恩等執導，於2001年至2017年范·迪塞爾、保羅·沃克（已故）、喬丹娜·布魯斯特、米歇爾·羅德里格茲等主演的賽車題材的動作犯罪類電影，截至2018年，一共拍了八部。之後兩部續集正式定檔，《速度與激情9》和《速度與激情10》分別於2020年4月10日和2021年4月2日上映。

Ⅱ 影片類型用英語怎麼說

影片類型用英語表達是：types of films

重點詞彙：types of

釋義：類型;.........的種類;...........的類型

雙語應用舉例

1. Thecriticismofhislasttwofilms,ASimpleNoodleStory(2009)andUndertheHawthornTree(2010),didn'tstophimmakingdifferenttypesoffilms.

   外界對他前兩部作品（2009年的《三槍拍案驚奇》和2010年的《山楂樹之戀》）的爭議之聲並沒有阻止他拍攝不同風格影片的腳步。

2. typesoffilms.

   描述不同類型電影的詞彙學習。

3. Ilovewatchingmosttypesoffilms–eventear-jerkers.

   我喜歡看很多類型的電影-甚至是催人淚下的電影。4

4. Inthisinteraction,sometypesoffilms.

   在這種相互作用下，部分類型片表現出了只有在特定歷史條件下才會出現的特徵。

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 電影的種類英語名稱

哈利 屬於魔幻片 fantasy film
海底總動員 屬於動畫片 cartoon
少林足球 屬於喜劇片 comedy film
木乃伊回歸 我不知道是不是該算科幻片 the science fiction movie 還是探險片 adventure film

英文沒問題，就是分類我不太確定

Ⅳ 各種電影的英文名(如動作片的是action)

喜劇片：comedy
恐怖片：dracula movie
劇情片：feature film
愛情片：affectional film
動作片：action movie

Ⅵ 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...

Ⅶ 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.

Ⅷ 求外國經典電影的25個中英文名字，謝謝，

1.巴頓將軍/鐵血將軍巴頓 Patton (1970)
2.發條橙子/發條桔子 Clockwork Orange, A (1971)
3.最後一場電影 Last Picture Show, The (1971)
4.教父 Godfather, The (1972)
5.日以繼夜 Day for Night (1972)
6.我記得，想當年/當年事 Amarcord (1973)
7.教父II Godfather: Part II, The (1974)
8.飛越瘋人院/飛越杜鵑窩 One Flew Over the Cuckoo\'s Nest (1975)
9.計程車司機/計程車司機/的士司機 Taxi Driver (1976)
10.拿出你的手帕 Get Out Your Handkerchiefs, France (1977)
11.安妮·霍爾 Annie Hall (1977)
12.獵鹿人/越戰獵鹿人 Deer Hunter, The (1978)
13.現代啟示錄 Apocalypse Now (1979)
14.鐵皮鼓 Blechtrommel, Die (1979)
15.克萊默夫婦 Kramer vs. Kramer (1979)
16.普通人 Ordinary People (1980)
17.象人 Elephant Man, The (1980)
18.憤怒的公牛/蠻牛/狂牛 Raging Bull (1980)
19.佩比、露西、伯姆和其他姑娘們 Pepi, Luci, Bom and the Other Girls (1980)
20.火戰車/火之戰車 Chariots of Fire (1981)
21.甘地傳 Gandhi (1982)
22.外星人E.T. E.T. the Extra-Terrestrial (1982)
23.芬妮與亞力山大 Fanny och Alexander (1982)
24.美國往事/四海兄弟/義薄雲天 Once Upon a Time in America (1984)
25.莫扎特傳/阿瑪迪斯 Amadeus (1984)
26.為什麼我命該如此 What Have I Done to Deserve This (1984)
27.走出非洲/遠離非洲/非洲之旅 Out of Africa (1985)
28.巴西 Brazil (1985)
29.野戰排/前進高棉/殺戮戰場 Platoon (1986)
30.鬥牛士 Matador (1986)
31.末代皇帝 Last Emperor, The (1987)
32.征服者佩爾 Pelle erobreren (1987)
33.十誡 Dekalog (1987)
34.慾望的法則 Ley del deseo, La (1987)
35金甲部隊/全金屬外殼 Full Metal Jacket (1987)
36.雨人/手足情未了 Rain Man (1988)
37.瀕臨崩潰邊緣的女人 Mujeres al borde de un ataque de nervios (1988)
38.天堂電影院/星光伴我心/新天堂樂園 Nuovo cinema Paradiso (1989)
39.光榮/光榮戰役 Glory (1989)
40.教父III Godfather: Part III, The (1990)
41.與狼共舞 Dances with Wolves (1990)
42.好傢伙/四海好傢伙/盜亦有道 Goodfellas (1990)
43.人鬼情未了 Ghost (1990)
44.捆著你，困著我/捆著我，綁著我 ?átame! (1990)
45.終結者2/魔鬼終結者2/未來戰士2 Terminator 2: Judgment Day (1991)
46.沉默的羔羊 Silence of the Lambs, The (1991)
47.高跟鞋 Tacones lejanos (1991)
48.聞香識女人 Scent of a Woman (1992)
49.辛德勒的名單 Schindler\'s List (1993)
50.因父之名 In the Name of the Father (1993)
51.基卡 Kika (1993)
52.阿甘正傳 Forrest Gump (1994)
53.肖申克的救贖/刺激1995/月黑高飛 Shawshank Redemption, The (1994)
54.燃情歲月/秋日傳奇 Legends of the Fall (1994)
55.這個殺手不太冷/終極追殺令/殺手萊昂 Léon (1994)
56.低俗小說/黑色追緝令/危險人物 Pulp Fiction (1994)
57.毒太陽 Burnt by the Sun (1994)
58.七宗罪/火線追緝令 Se7en (1995)
59.勇敢的心/英雄本色/驚世未了緣 Braveheart (1995)
60.廊橋遺夢/麥迪遜之橋 Bridges of Madison County, The (1995)
61.猜火車/迷幻列車 Trainspotting (1996)
62.英國病人 English Patient, The (1996)
63.給我一個爸 Kolya (1996)
64.美麗人生/一個快樂的傳說 Vita è bella, La (1997)
65.泰坦尼克號/鐵達尼號 Titanic (1997)
66.角色 Karakter (1997)
67.顫抖的慾望 Carne trémula (1997)
68.海上鋼琴師 Leggenda del pianista sull\'oceano, La (1998)
69.楚門的世界 Truman Show, The (1998)
70.拯救大兵瑞恩/雷霆救兵/拯救大兵雷恩 Saving Private Ryan (1998)
71.羅拉快跑/疾走羅拉 Lola rennt (1998)
72.細細的紅線/紅色警戒 Thin Red Line, The (1998)
73.野獸良民/美國X檔案 American History X (1998)
74.格鬥俱樂部/斗陣俱樂部/搏擊會/搏擊俱樂部 Fight Club (1999)
75.美國麗人/美國心·玫瑰情/美國大美人 American Beauty (1999)
76.關於我母親的一切/論盡我母親/關於我的母親/我的母親 Todo sobre mi madre (1999)
77史崔特先生的故事/路直路彎 The Straight Story (1999)
78.角鬥士/神鬼戰士/帝國驕雄 Gladiator (2000)
79.西西里的美麗傳說/真愛伴我行/瑪蓮娜 Malena (2000)
80.跳出我天地/舞動人生/芭蕾之夢 Billy Elliot (2000)
81.夢之安魂曲 Requiem for a Dream (2000)
82.愛情是狗娘/狗男女的愛/人、愛、狗 Amores perros (2000)
83.兄弟連 Band of Brothers (2001)
84.美麗心靈 A Beautiful Mind (2001)
85.天使愛美麗/艾蜜莉的異想世界/阿梅麗的奇妙命運 Fabuleux destin d\'Amélie Poulain, Le (2001)
86.無主之地 No Man\'s Land (2001)
87.坎大哈 Safar e Ghandehar (2001)
88.穆荷蘭大道 Mulholland Dr. (2001)
89.鋼琴家/戰地琴人/鋼琴戰曲/鋼琴戀曲 The Pianist (2002)
90.對她說/悄悄告訴她/對她有話兒 Hable con ella (2002)
91.大魚/大魚老爸/大智若魚 Big Fish (2003)
92.最後的武士 The Last Samurai (2003)
93.冷山 Cold Mountain (2003)
94.野蠻人入侵 The Barbarian Invasions (2003)
95.百萬寶貝 Million Dollar Baby (2004)
96.杯酒人生/並肩前行 Sideways (2004)
97.飛行者/神鬼玩家 The Aviator (2004)
98.深海長眠/出海/長眠地中海/安樂死之謎 Mar adentro (2004)
99.不良教育/毀滅性教育/聖.教.欲 Mala ecación, La (2004)
100.盧安達飯店 Hotel Rwanda (2004)

Ⅸ 求各類電影中英文名稱

紀錄片：
《美國哈蘭郡》（Harlan County, U.S.A）
《父輩的旗幟》(Flags of Our Fathers)

喜劇片：
《摩登時代》( Modern Times)
《神奇遙控器》（Click）
《冒牌老爸》（Big Daddy）
《美國派》 (American Pie)
《加勒比海盜2：死靈的財寶》(Pirates of the Caribbean: Dead Man's Chest)

恐怖片：
《寂靜嶺》（Silent Hill）
《電鋸驚魂》（Saw）
《來電驚魂》 (When a Stranger Calls)
《午夜凶鈴》 (Ringu)
《活死人之地》 (Land of the Dead)
《電鋸驚魂3》(Saw III)
《咒怨美國版2》(The Grudge 2)
《德克薩斯州電鋸殺人狂前傳》(The Texas Chainsaw Massacre: The Beginning)

災難片：
《後天》（The Day After Tomorrow）
《狂蟒之災2》 (Anacondas)
《致命接觸：美國禽流感》(Fatal Contact:Bird Flu in America)
《地心末日》(The Core)

愛情片：
《觸不到的戀人》（The Lake House）
《泰坦尼克號》（Titanic）
《人鬼情未了》（Ghost）

科幻片：
《X戰警3》(X-Men 3)
《超人歸來》(Superman Returns)
《V字仇殺隊》(V for Vendetta)
《龍騎士》(Eragon)

Ⅹ 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。