是关于哪些方面的电影英文

① 有哪些好的英文电影值得一看

说到英文电影，我觉得恐怖系列的《死亡录像》带就是一部非常好的英文电影，这个电影跟其他的僵尸类型电影题材虽然一样。但是，但是他所采用的这种制成的效果跟其他的是不一样的，主要是应用镜头的抖动感，给人一个恐怖的感觉，然后一段一段的录音记录着每一个人不同的死法。这样英文电影一定很有意思，值得一看。

② 好看的英文电影有哪些

提到英文电影，我在脑海中快速检索后闪过的第一部电影是——《社交网络》。

所以看到“英文电影”这种问题时我的第一反应就是这部《社交网络》——因为在这部电影里，你将听到超过其他电影三倍以上的英文台词！

③ 关于电影的英语作文

还是写经典的比较好，新上映的别人不熟悉呀

④ 求有关电影方面的英语

direction 导演
proction 制片
adaptation 改编
scenario, screenplay, script 编剧
film star, movie star 电影明星
star, lead 主角
double, stand-in 替身演员
stunt man 特技替身演员
extra, walker-on 临时演员
character actor 性格演员
regular player 基本演员
extra 特别客串
film star 电影明星
film actor 男电影明星
film actress 女电影明星
support 配角
util 跑龙套
adapter 改编
scenarist, scriptwriter 脚本作者
dialogue writer 对白作者
proction manager 制片人
procer 制片主任
film director 导演
assistant director 副导演，助理导演
cameraman, set photographer 摄影师
assistant cameraman 摄影助理
property manager, propsman 道具员
art director 布景师 (美作:set decorator)
stagehand 化装师
lighting engineer 灯光师
film cutter 剪辑师
sound engineer, recording director 录音师
script girl, continuity girl 场记员
scenario writer, scenarist 剧作家
...

⑤ 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.

⑥ 写一个关于你喜欢什么电影是什么类型是关于什么的英语作文

My favourite film

Do you know Harry Potter? It’s one of
my favourite films and it’s an magical film. I don’t know who plays it but I
know it’s written by J.K.Rowling.

As you know Harry Potter is a magical
school student who wears glasses and has no parents ,now he is 16 years old .He
is very brave and known by everyone because he is the only person who didn’t
die by devil.At school,he has two good friends,they are Rone and Henry.

When I see this film,I feel very
excited and interesting.So I see it again and again,every time I have different
feelings,sometimes I even feel as if I’m Potter.

Do you like Harry Potter? If you haven’t see it yet,read it now and
you’ll find a wonderful world.

⑦ 有哪些种类的电影（用英语表达）最好能举几个相应的例

action movies 动作片
documentaries 纪录片
thrillers 恐怖片
comedies 喜剧片
romance 爱情片
science fiction movies 科幻片

⑧ 哪些英文电影在英文学习方面比较经典啊

如果说你想练口语的，而且是英式发音的话我建议《哈利波特》系列是不错的选择，学习英语，我个人觉得不在于看电影有多少，而是你要看懂，不去看中文字幕，看自己是否听得懂。我建议是最好下载那些有中英双字幕的，这样有助于你英语学习。

⑨ 写一篇关于电影方面的英语作文 内容包括主要内容和人物

I like movies very much. My favorite movie is “Love Me Once More, Mom”. This is a moving story about a mother and her son.. The son was lost one day and the mother was so worried that she looked for him everywhere, but she couldn’t find him. She was very sad and almost went mad. I think it is a wonderful movie. It is so moving and sad that I ever cried over and over again. How I wish to watch it again.
我非常喜欢看电影.我最喜欢的电影是《妈妈再爱我一次》.这是一个关于妈妈和她儿子的故事.儿子有一天失踪了,妈妈非常着急,到处寻找他,但没能找到.她非常悲伤,几乎要疯了.我认为这是一个非常精彩的电影.这部电影非常感人,我都哭了好几次.我多么希望能再一遍.