电影类型有哪些英文

⑴ 用英文说,电影的类型,例如comedy

外国一般如下表达电影类型,来源于外国权威电影网站,自己做了翻译：Action 动作片Adventure 冒险片Animation 动画片Biography 传记片Comedy 喜剧片Crime 犯罪片Documentary 纪录片Drama 戏剧（文艺）片Family 生活片F...

⑵ 电影类型（例如功夫片，喜剧片，恐怖片等）用英语怎么表示

Crime - 警匪
Historical - 历史
Science fiction - 科幻
Sports - 体育
War - 战争
Westerns - 西部

Action - 动作
Adventure - 冒险
Comedy - 喜剧
Drama - 剧情
Fantasy - 神话
Horror - 恐怖
Mystery - 神秘
Romance - 浪漫
Thrillers - 惊险

Animation - 动画

⑶ 电影类型（例如功夫片，喜剧片，恐怖片等）用英语怎么表示

actionmovie(动作片),
comicmovie(喜剧电影),
horrormovie(恐怖片),
affectionalmovie(爱情片),
tragicmovie(悲情电影),
children'smovie(儿童电影),
kongfumovie(功夫片),

⑷ 关于电影分类的英语单词

1、奇幻电影——Fantasy Film

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。

奇幻电影（Fantasy Film）在电影的划分中可以与科幻电影以及恐怖电影（horror film）划为同一类型，具有代表性的作品包括《指环王》《霍比特人》《哈利波特》。

2、动作片——Action Films

又称为惊险动作片(Action-Adventure 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。

常常涉及追逐（徒步和交通工具）、营救、战斗、毁灭性灾难（洪水、爆炸、大火和自然灾害等）、搏斗、逃亡、持续的运动、惊人的节奏速度和历险的角色。

3、喜剧电影——Comedy film

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——Scary Movie

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——love film

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。

⑸ 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.

⑹ 如何用英语表达不同的电影类型

主要类型的电影可以用英语这样表达：

1、喜剧：Comedy

2、冒险：Adventure

3、幻想：Fantasy

4、悬念：Mystery

5、惊悚：Thriller

6、战争：War

7、西部：Western

8、爱情：Romance

9、恐怖：Horror

10、动作：Action

11、科幻：Sci-Fi

12、犯罪：Crime

(6)电影类型有哪些英文扩展阅读：

所谓类型电影，是指由于不同题材或技巧而形成的影片范畴、种类或形式。按照不同类型 （或称样式）的规定要求制作出来的影片。其具有基本特征：公式化的情节，定型化的人物，图解式的视觉影像。主要类型影片有喜剧片、西部片、罪片、幻想片等。

类型电影的制作根据观众的心理特点，在一定时期内以某一类型作为制作重点，即采取所谓"热潮更替"方式。在人们厌烦了西部片之后，便换上恐怖片，然后再继之以其他类型影片，如此周转不息，反复轮换。在诸多的影片类型中，最有典型性的是四个类型，即喜剧片、西部片、犯罪片、幻想片。

类型电影作为一种拍片方法，实质上是一种艺术产品标准化的规范。它的规定性和对影片创作者的强制力，只有在以制片人专权为特点的大制片厂制度下才有可能发生作用。因此，随着大制片厂制度在五十年代以后的逐渐解体，各种类型之间的严格界线趋于模糊，愈来愈成为一般意义上的样式划分了。

⑺ 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。

⑻ 各种类型电影的英文名是

action film （动作片） document．ry 纪录片， kongfu film 武打片， comedy 喜剧 tragedy 悲剧 detective film 侦探片 science fiction 科幻电影 disaster灾难片 thriller 惊悚片 horror film 恐怖片 western 西部片 musical 音乐片 cartoon 动画片 romance/love story 言情片 biographies（人物传记） auto biographies（自转） science fiction （科幻） romance 爱情片 mystery（侦探） cartoon 卡通片 main actor/actress 男主演/女主演 hero/heroine 男主角/女主角 director 导演 acting 演技 plot 情节 big scene 大场面 splendid landscape 秀丽的景色 intriguing 引人入胜 fascinating 令人着迷的 terrific 极好的 relaxing 令人放松的 happy ending 圆满结局 touching 感人的 moving 令人感动的 tragic ending 悲剧结局

满意请采纳

⑼ 电影的各种类型用英语怎样说

feature films故事片
documentary films纪录片
cartoons卡通片
romances films爱情片
detective films侦探片
horror films恐怖片
war films战争片
science-fiction films科幻片
action films动作片(武打片）
police and ganster films警匪片
disaster films灾难片
comedy喜剧片
tragedy悲剧片
这些都是我们外语系写作课的时候讲的，放心吧

⑽ 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。