电影题材英语

① 求以下电影的英文简介

仙境之桥
In the film, major suit people fight and mysterious forest in the dark and mysterious kingdom in two young hero is all quite backing -- Josh Hutcherson and Annasophia Robersan is in the movie, two people age is small, but the acting is uncommon, and with the Hollywood star cooperation. Eat chewing gum mean girl as Leslie Annasophia Rob 's " Charlie and the Chocolate Factory ". She was paired with Josh Hutcherson boy, have challenged the limit of imagination in the " game of the brave II ", demonstrated beyond the old. Two alt supporting is familiar faces -- and ED Harris " winter " by Zoe Daschel, came to the film into a loving music teacher. And the famous liquid robot T-1000 Robert Patrick, also no longer and Arnold comrades fought, but with the boy's father, sh-ow its multifaceted talent。
忠犬八公
Hachi, Japan's history of a legendary loyal dog, this is a true story happened in 1924, Akita Inuyako was its owner Ueno Xiumiro to Tokyo, Ueno Xiumiro is a University of Tokyo professor in the Department of agriculture. Every morning, eight mr.s are at home watching Ueno Xiumiro go to work, and then in the evening went to the vicinity of the Shibuya train station to meet him back home. Such a happy life continued until 1925, one night, Ueno Xiumiro did not Saburo returning home, he had a stroke in the University, after the rescue invalid death. Later, the owner and never returned to the train station, but Hachi still faithfully waiting for him.

② 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。

(2)电影题材英语扩展阅读：

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。

③ 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。

④ 求几部电影的英文简介

1.功夫熊猫(Kung Fu Panda)

It's the story about a lazy, irreverent slacker panda, named Po, who is the biggest fan of Kung Fu around...which doesn't exactly come in handy while working every day in his family's noodle shop. Unexpectedly chosen to fulfill an ancient prophecy, Po's dreams become reality when he joins the world of Kung Fu and studies alongside his idols, the legendary Furious Five -- Tigress, Crane, Mantis, Viper and Monkey -- under the leadership of their guru, Master Shifu. But before they know it, the vengeful and treacherous snow leopard Tai Lung is headed their way, and it's up to Po to defend everyone from the oncoming threat. Can he turn his dreams of becoming a Kung Fu master into reality? Po puts his heart - and his girth - into the task, and the unlikely hero ultimately finds that his greatest weaknesses turn out to be his greatest strengths.
2.汽车总动员(Cars)
Lightning McQueen is a cocky, rookie race car. Speeding on his way to a big race, he crashes into Radiator Springs, destroying lots of the inhabitants belongings. In order to make up for what he did, the cocky roadster is sentenced to community service. Though he will do anything to get away from the work, McQueen must learn to respect and bond with the Radiator Springs inhabitants in order to get out of the town and back on the racetracks
3.后天(Plot Summary)
This movie takes a big-budget, special-effects-filled look at what the world would look like if the greenhouse effect and global warming continued at such levels that they resulted in worldwide catastrophe and disaster, including multiple hurricanes, tornadoes, tidal waves, floods and the beginning of the next Ice Age. At the center of the story is a paleoclimatologist (a scientist who studies the ways weather patterns changed in the past), Professor Jack Hall (Quaid), who tries to save the world from the effects of global warming while also trying to get to his son, Sam (Gyllenhaal), who was in New York City as part of a scholastic competition, when the city was overwhelmed by the chilling beginnings of the new Ice Age. In addition to all of the other challenges Dr. Hall faces, he's also going against the flow as humanity races south to warmer climes, and he's nearly the only one going north...
4.变形金刚(Transformers )
In the Arctic Circle ring the 1800s, Captain Archibald Witwicky chips away at a massive sheet of ice, only to break it and fall into an abyss, landing on a robotic hand partially buried in the ice. He finds the eyes of Decepticon leader Megatron staring back at him, who burns a map showing the location of the life giving Allspark into Witwicky's eyeglasses. These are handed down to his descendant, Sam, in the present day. Elsewhere, Decepticon Blackout attacks a United States Air Force base in Qatar in the present day, grabbing and absorbing information from a computer whilst he destroys the base and deploys Scorponok. Scorponok chases Captain Lennox and his Special Ops team in the desert and in a village, when Lennox makes a phone call to The Pentagon, who send a jet to fight off the Decepticon. Sam Witwicky buys his first car, which happens to be the Autobot Bumblebee. Bumblebee helps Sam to gain Mikaela as his girlfriend. The Autobots come looking for Archibald's glasses, whilst hiding in Sam's yard, and the nefarious Sector 7 comes to invade Sam's house. The film eventually concludes with a battle that begins at the Hoover Dam and concludes in Los Angeles as Autobot leader Optimus Prime and Megatron face each other.
5.玩具总动员(Toy Story )
A little boy named Andy loves to be in his room, playing with his toys, especially his doll named "Woody". But, what do the toys do when Andy is not with them, they come to life. Woody believes that he has life (as a toy) good. However, he must worry about Andy's family moving, and what Woody does not know is about Andy's birthday party. Woody does not realize that Andy's mother gave him an action figure known as Buzz Lightyear, who does not believe that he is a toy, and quickly becomes Andy's new favorite toy. Woody, who is now consumed with jealousy, tries to get rid of Buzz. Then, both Woody and Buzz are now lost. They must find a way to get back to Andy before he moves without them, but they will have to pass through a ruthless toy killer, Sid Phillips.The humor in here, however, is what made this so popular. There are tons of funny lines, issued by characters voiced by Tom Hanks, Tim Allen, Jim Varney, Don Rickles, Wallace Shawn and John Ratzenberger, among others. As good as Hanks is as "Woody" and Allen as "Buzz Armstrong," I think the supporting characters just about stole the show: Mr. Potato Head, Slinky, Rex the dinosaur, etc.
Multiple viewings don't diminish the entertainment, either. There are so many things to catch, audibly and visually, that you always seem to discover something new. The colors in here are beautiful, too. This is a guaranteed "winner" as is the sequel.
6.海底总动员(Finding Nemo)
The Sentiment of Finding Nemo
I remember the first English movie I have ever seen is Finding Nemo. I moved by this movie and the tear drop fell down from my face after I see it.
“Finding Nemo” tells the story of clownfish Marlin and his only son Nemo. Nemo is a clownfish in Chinese. In the sea, Marlin and Nemo lead a safe and quiet life. Like all the fathers, Marlin tries to protect his son from being hurt. But Nemo eager to explore the reef.
One day, Nemo is captured by a cruel man. Then he put Nemo and many fish to a big tank. The coward father knew it, he go to rescue his son and of course all the animals in Barrier Reef Helped him find his naughty son, Nemo. In doing so, Marlin overcomes his tear and he rescues his son.
I like the bbing of Nemo, is a boy and he is very lovely and I think Nemo is full of naughty. He likes risking very much.
In my opinion, Finding Nemo is similar from The Lion King. They’re all telling us to treasure the love for parents. I like the Finding Nemo in the same way I like his coward father, Marlin AND Naughty Nemo.

⑤ 推荐十部英语电影

魔法奇缘
鼠来宝
炸虫总动员
海底总动员
下水道历险记
冰河世纪
修女也疯狂1.2
功夫熊猫
料理鼠王

⑥ “不同题材的电影” 用英文怎么说

different kinds of films
英语无能。。。。。。凑热闹

⑦ 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.

⑧ 最适合学英语的20部经典电影

1、《死亡诗社》

该片讲述了修女玛丽亚到特拉普上校家当家庭教师，并和上校的7个孩子很快打成一片，上校也渐渐在玛利亚的引导下改变了对孩子们的态度，并与玛利亚之间产生了感情的故事。