电影类型的中英文名称

Ⅰ 外国电影名，越多越好（中文和英文名）

1、《Fast & Furious》

《速度与激情》（Fast & Furious）是罗伯·科恩等执导，于2001年至2017年范·迪塞尔、保罗·沃克（已故）、乔丹娜·布鲁斯特、米歇尔·罗德里格兹等主演的赛车题材的动作犯罪类电影，截至2018年，一共拍了八部。之后两部续集正式定档，《速度与激情9》和《速度与激情10》分别于2020年4月10日和2021年4月2日上映。

Ⅱ 影片类型用英语怎么说

影片类型用英语表达是：types of films

重点词汇：types of

释义：类型;.........的种类;...........的类型

双语应用举例

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

   外界对他前两部作品（2009年的《三枪拍案惊奇》和2010年的《山楂树之恋》）的争议之声并没有阻止他拍摄不同风格影片的脚步。

2. typesoffilms.

   描述不同类型电影的词汇学习。

3. Ilovewatchingmosttypesoffilms–eventear-jerkers.

   我喜欢看很多类型的电影-甚至是催人泪下的电影。4

4. Inthisinteraction,sometypesoffilms.

   在这种相互作用下，部分类型片表现出了只有在特定历史条件下才会出现的特征。

Ⅲ 跪求所有电影类型的英文单词！

actionfilm动作片 documentary纪录片 kongfufilm武打片 comedy喜剧 tragedy悲剧 detectivefilm侦探片 sciencefiction科幻电影 disaster灾难片 thriller惊悚片 horrorfilm恐怖片 western西部片 musical音乐片 cartoon动画片 romance/lovestory言情片 biographies人物传记 autobiographies自传 sciencefiction科幻 romance浪漫 mystery侦探 horror恐怖 fantasy幻想片 cartoon卡通 happyending圆满结局 tragicending悲剧结局

记得采纳啊

Ⅳ 电影的种类英语名称

哈利 属于魔幻片 fantasy film
海底总动员 属于动画片 cartoon
少林足球 属于喜剧片 comedy film
木乃伊回归 我不知道是不是该算科幻片 the science fiction movie 还是探险片 adventure film

英文没问题，就是分类我不太确定

Ⅳ 各种电影的英文名(如动作片的是action)

喜剧片：comedy
恐怖片：dracula movie
剧情片：feature film
爱情片：affectional film
动作片：action movie

Ⅵ 电影种类的英文说法

故事片/剧情片
Fiction/Feature
Film
纪录片
Documentary
Film
剧情纪录片
Docudrama
Film
新闻纪录影片
Newsreel
Film
动画片
Animation
Film
音乐歌舞片
Musical
Film
戏曲片
Chinese
Opera
舞台艺术片
Stage
Performance
短片
Short
Film
电影片种大概就上面几种
电影类型主要有下面这些
情节片
Drama
喜剧片
Comedy
爱情片
Romantic
动作片
Action
武侠片
Martial
Arts
功夫片
Kung-Fu
战争片
War
悬疑片
Thrill
恐怖片
Horror
神幻片
Fantasy
科幻片
Sci-fi
鬼片
Ghost
贺岁片
New
Year
Celebration
情色片
Erotic
成人片
Alt
应该就这些吧
不知道是不是你要的...

Ⅶ 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.

Ⅷ 求外国经典电影的25个中英文名字，谢谢，

1.巴顿将军/铁血将军巴顿 Patton (1970)
2.发条橙子/发条桔子 Clockwork Orange, A (1971)
3.最后一场电影 Last Picture Show, The (1971)
4.教父 Godfather, The (1972)
5.日以继夜 Day for Night (1972)
6.我记得，想当年/当年事 Amarcord (1973)
7.教父II Godfather: Part II, The (1974)
8.飞越疯人院/飞越杜鹃窝 One Flew Over the Cuckoo\'s Nest (1975)
9.出租车司机/计程车司机/的士司机 Taxi Driver (1976)
10.拿出你的手帕 Get Out Your Handkerchiefs, France (1977)
11.安妮·霍尔 Annie Hall (1977)
12.猎鹿人/越战猎鹿人 Deer Hunter, The (1978)
13.现代启示录 Apocalypse Now (1979)
14.铁皮鼓 Blechtrommel, Die (1979)
15.克莱默夫妇 Kramer vs. Kramer (1979)
16.普通人 Ordinary People (1980)
17.象人 Elephant Man, The (1980)
18.愤怒的公牛/蛮牛/狂牛 Raging Bull (1980)
19.佩比、露西、伯姆和其他姑娘们 Pepi, Luci, Bom and the Other Girls (1980)
20.火战车/火之战车 Chariots of Fire (1981)
21.甘地传 Gandhi (1982)
22.外星人E.T. E.T. the Extra-Terrestrial (1982)
23.芬妮与亚力山大 Fanny och Alexander (1982)
24.美国往事/四海兄弟/义薄云天 Once Upon a Time in America (1984)
25.莫扎特传/阿玛迪斯 Amadeus (1984)
26.为什么我命该如此 What Have I Done to Deserve This (1984)
27.走出非洲/远离非洲/非洲之旅 Out of Africa (1985)
28.巴西 Brazil (1985)
29.野战排/前进高棉/杀戮战场 Platoon (1986)
30.斗牛士 Matador (1986)
31.末代皇帝 Last Emperor, The (1987)
32.征服者佩尔 Pelle erobreren (1987)
33.十诫 Dekalog (1987)
34.欲望的法则 Ley del deseo, La (1987)
35金甲部队/全金属外壳 Full Metal Jacket (1987)
36.雨人/手足情未了 Rain Man (1988)
37.濒临崩溃边缘的女人 Mujeres al borde de un ataque de nervios (1988)
38.天堂电影院/星光伴我心/新天堂乐园 Nuovo cinema Paradiso (1989)
39.光荣/光荣战役 Glory (1989)
40.教父III Godfather: Part III, The (1990)
41.与狼共舞 Dances with Wolves (1990)
42.好家伙/四海好家伙/盗亦有道 Goodfellas (1990)
43.人鬼情未了 Ghost (1990)
44.捆着你，困着我/捆着我，绑着我 ?átame! (1990)
45.终结者2/魔鬼终结者2/未来战士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.闻香识女人 Scent of a Woman (1992)
49.辛德勒的名单 Schindler\'s List (1993)
50.因父之名 In the Name of the Father (1993)
51.基卡 Kika (1993)
52.阿甘正传 Forrest Gump (1994)
53.肖申克的救赎/刺激1995/月黑高飞 Shawshank Redemption, The (1994)
54.燃情岁月/秋日传奇 Legends of the Fall (1994)
55.这个杀手不太冷/终极追杀令/杀手莱昂 Léon (1994)
56.低俗小说/黑色追缉令/危险人物 Pulp Fiction (1994)
57.毒太阳 Burnt by the Sun (1994)
58.七宗罪/火线追缉令 Se7en (1995)
59.勇敢的心/英雄本色/惊世未了缘 Braveheart (1995)
60.廊桥遗梦/麦迪逊之桥 Bridges of Madison County, The (1995)
61.猜火车/迷幻列车 Trainspotting (1996)
62.英国病人 English Patient, The (1996)
63.给我一个爸 Kolya (1996)
64.美丽人生/一个快乐的传说 Vita è bella, La (1997)
65.泰坦尼克号/铁达尼号 Titanic (1997)
66.角色 Karakter (1997)
67.颤抖的欲望 Carne trémula (1997)
68.海上钢琴师 Leggenda del pianista sull\'oceano, La (1998)
69.楚门的世界 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.罗拉快跑/疾走罗拉 Lola rennt (1998)
72.细细的红线/红色警戒 Thin Red Line, The (1998)
73.野兽良民/美国X档案 American History X (1998)
74.格斗俱乐部/斗阵俱乐部/搏击会/搏击俱乐部 Fight Club (1999)
75.美国丽人/美国心·玫瑰情/美国大美人 American Beauty (1999)
76.关于我母亲的一切/论尽我母亲/关于我的母亲/我的母亲 Todo sobre mi madre (1999)
77史崔特先生的故事/路直路弯 The Straight Story (1999)
78.角斗士/神鬼战士/帝国骄雄 Gladiator (2000)
79.西西里的美丽传说/真爱伴我行/玛莲娜 Malena (2000)
80.跳出我天地/舞动人生/芭蕾之梦 Billy Elliot (2000)
81.梦之安魂曲 Requiem for a Dream (2000)
82.爱情是狗娘/狗男女的爱/人、爱、狗 Amores perros (2000)
83.兄弟连 Band of Brothers (2001)
84.美丽心灵 A Beautiful Mind (2001)
85.天使爱美丽/艾蜜莉的异想世界/阿梅丽的奇妙命运 Fabuleux destin d\'Amélie Poulain, Le (2001)
86.无主之地 No Man\'s Land (2001)
87.坎大哈 Safar e Ghandehar (2001)
88.穆荷兰大道 Mulholland Dr. (2001)
89.钢琴家/战地琴人/钢琴战曲/钢琴恋曲 The Pianist (2002)
90.对她说/悄悄告诉她/对她有话儿 Hable con ella (2002)
91.大鱼/大鱼老爸/大智若鱼 Big Fish (2003)
92.最后的武士 The Last Samurai (2003)
93.冷山 Cold Mountain (2003)
94.野蛮人入侵 The Barbarian Invasions (2003)
95.百万宝贝 Million Dollar Baby (2004)
96.杯酒人生/并肩前行 Sideways (2004)
97.飞行者/神鬼玩家 The Aviator (2004)
98.深海长眠/出海/长眠地中海/安乐死之谜 Mar adentro (2004)
99.不良教育/毁灭性教育/圣.教.欲 Mala ecación, La (2004)
100.卢旺达饭店 Hotel Rwanda (2004)

Ⅸ 求各类电影中英文名称

纪录片：
《美国哈兰郡》（Harlan County, U.S.A）
《父辈的旗帜》(Flags of Our Fathers)

喜剧片：
《摩登时代》( Modern Times)
《神奇遥控器》（Click）
《冒牌老爸》（Big Daddy）
《美国派》 (American Pie)
《加勒比海盗2：死灵的财宝》(Pirates of the Caribbean: Dead Man's Chest)

恐怖片：
《寂静岭》（Silent Hill）
《电锯惊魂》（Saw）
《来电惊魂》 (When a Stranger Calls)
《午夜凶铃》 (Ringu)
《活死人之地》 (Land of the Dead)
《电锯惊魂3》(Saw III)
《咒怨美国版2》(The Grudge 2)
《德克萨斯州电锯杀人狂前传》(The Texas Chainsaw Massacre: The Beginning)

灾难片：
《后天》（The Day After Tomorrow）
《狂蟒之灾2》 (Anacondas)
《致命接触：美国禽流感》(Fatal Contact:Bird Flu in America)
《地心末日》(The Core)

爱情片：
《触不到的恋人》（The Lake House）
《泰坦尼克号》（Titanic）
《人鬼情未了》（Ghost）

科幻片：
《X战警3》(X-Men 3)
《超人归来》(Superman Returns)
《V字仇杀队》(V for Vendetta)
《龙骑士》(Eragon)

Ⅹ 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。