日本十大經典的恐怖電影：《鬼家怪談》、《鬼娃娃花子》、《涉谷怪談》、《咒怨》、《午夜凶鈴》。
1、《鬼家怪談》
沉浸在喪妻之痛中的大和充，帶著女兒愛實搬進一幢離車站偏遠但非常便宜的老舊公寓，沒想到卻從此陷入意想不到的惡夢之中。
愛實一家從搬家開始便不斷發生怪事：屋檐上的怪異人影、空屋裡的神秘少女、午夜12點前沒回到公寓前的白線內，就會被惡靈蹂躪至死的恐怖預言、13戶人家因想搬家而慘遭怨靈迫害而死的詭異傳言等等。
5、《午夜凶鈴》
女高中生友子和同學共同看了一盤來歷不明的錄像帶，七天後，她和她的同學相繼死去，這引起了女記者淺川（松島菜菜子飾）的關注，她決定調查這個事件的真相。淺川了解到友子死前曾因看一盤錄像帶驚嚇過度而住院，於是她找到了出租那盤錄像帶的旅店，也租了那盤沒有名字的帶子，打開錄像機。
Ⅱ 恐怖片英文怎麼說
問題一：鬼片用英語怎麼講 樓主說的是 horror (movie)
樓上所說的thriller不是恐怖片，而是驚險片
動作片（action)
浪漫片（romance)
喜劇片(edy)
劇情片(drama)
動畫片(animation)
驚險片(thriller)
科幻片(science fiction)
恐怖片（horror)
問題二：恐怖片的英語怎麼說 thriller
有驚悚片，驚險小說的意思。強調劇情驚險
而horror film 和 dracula movie 都是恐怖片的意思。
要說區別就是 horror film用的范圍更廣泛，更常見。
問題三：恐怖片的英文翻譯 fright flick就是「恐怖片」，也可以用horror film/movie類表示。Fright一詞大家很熟悉，是「驚嚇、恐怖」的意思。Flick是口語，意思是「電影，影片」。例如：action flick（動作片），play a role in the flick（在電影中扮演一個角色）。The flicks則是電影的總稱，有時也指「電影院」。例如：What』s on at the flicks tonight?（今晚電影院放映什麼影片？）又如：Fancy a night at the flicks?（晚上想去看電影嗎？）Fl還可以和其他詞相組合，表示各種類型的影片。例如「喜劇片」是ic flick，「科幻片」是science fiction flick。Chick flick則是針對女性觀眾的浪漫喜劇或文藝愛情片。
問題四：喜劇片的英語怎麼說？ 還有恐怖片等 喜劇片edy
恐怖片horror film 。horror movie
懸疑片suspense film。Thrill。Mystery
動作片action movie。actioner。action film
科幻片science fiction film。science fiction movi戶。fi film
劇情片feature film。story film。Drama
青春片youth film
歌舞片MUSICAL FILM
家庭片Family films
文藝片literary film。lterary flm。literacy film
罪案片Crime movie
武俠片sword *** en film。soword *** enfilm。Martial Arts
愛情片affectional film
戰爭片war movie
災難片disaster
驚悚片thriller
紀錄片newsreel
問題五：恐怖電影 怎麼翻譯啊(英語) scary movie
Ⅲ 求一部日本恐怖片名字
屠屍行動？
中文名字：屠屍行動
英文名字：Stacy: Attack of the Schoolgirl Zombies
導 演： Naoyuki Tomomatsu
國 家： 日本
時 長： 80min
年 代： 2001
在日本某城市有一種「NDH」恐怖的病毒沒有得到及時的控制，使這個城市中成千上萬的感染者變成喪屍威脅著整個人類。但這些人群竟是清一色的女高中生。原來這種病毒只會感染年齡在16歲以上的女性（變態的rb~~），讓她們變成喪屍來吞噬男人。對於這種狀況，國家便成立了再殺小組，對整個城市進行清理。可是，她們中間也有自己的親人，使他們無法下手，反而被活屍生生吃掉。於是，在這種復雜的關系中，他們與喪屍之間展開了一場駭人的戰斗。
可男人畢竟不是女人的對手（真理...），就在人種快要滅絕之前，意想不到的事情發生了... ...
本作的主角在自己的女朋友變成喪屍之後，就拿電鋸把她分屍了（是她死前自己要求的~~~）。並且在播出的電視促銷活動中，還有建議用這種電鋸將女孩殺死的廣告......
Ⅳ 求日本校園恐怖片
學校怪談 Gakkô no kaidan (1995)
某學期暑期結業式後，學校放了假。二年級學生美夏因把畫具忘在教室，獨自一人來到學校。美夏正想取了畫具回家時，一個足球吸引她走向傳說有幽靈出入的舊校舍。她在女廁所里被一個東西抓住了。美夏的姐姐亞樹去找她也被魔力引入舊校舍。路上遇到了研輔、將太、香織等同學。亞樹堅持獨自一人去找美夏，最後大家發現都被關在舊校舍中。這時他們面前出現魔怪，被一個巨人追逐，亞樹偶然從壁爐中逃出。為了救還在舊校舍的同學，亞樹帶著小向老師和家長再次潛入舊校舍。在校園里的阿均在朋友的幫助下在校園里畫了一個封魔圈，把被打壞的東西放在圈內，那些東西變成哈尼太郎散發著光芒。舊校舍內小向先生被追得走投無路，發現一個非常出口，他打碎玻璃跳出來，孩子們也逃了出去。大家發現香織不在，這時香織打來電話說她在醫院里。經過這一次歷險，原來與同學有隔閡的亞樹與同學們建立了友誼，同學們都成長了，渡過了一個愉快的暑假。
學校怪談2 Gakkô no kaidan 2 (1996)
4月4日，學生們在傳說中鬧鬼的學校進行尋鬼游戲，到了下午4點44分，詭異的事情發生了……
學校怪談2 Gakkô no kaidan 3 (1997)
鏡中的世界。完全顛覆的生活。恐怖的經歷。親情。
大志是一名體弱多病的學生，每次舉行運動會，他只能遠遠的觀望，流露著羨慕的眼光。『妖怪』利用了大志的思想，把其它同學帶到自己鏡里的世界。在最危急的情況下，他們發揮了友誼的力量，但這又能否把他們帶回現實世界呢？
學校怪談2 Gakkô no kaidan 4 (1999)
由平山秀幸導演、奧寺佐渡子編劇的這部鬼片，從片名看來是跟風之作，前面已有三集，但此片意外地拍得很用心，製作認真，沒有大搞又凶又猛、血肉淋漓的綽頭，全片保持小鄉鎮風味，以小孩和老人為主，注重家常情調和好心善意。
故事用懷舊的手法描述數十年前一次暑假，幾個男女小學生在空空舊舊的學校內玩猜拳和捉迷藏，那知忽然發生海嘯，捉迷藏躲起來的小童們遇害了，但他們的幽靈，仍然一直在等候負責'捉'的那個同學到來尋找。日本人似乎很重視信約，捉迷藏也這樣，游戲未完，躲藏的小童是不能出來的，做鬼也要守約。一對東京小兄妹到該鎮姨媽家中度假。小哥哥的名字跟當年唯一脫險的小男生相近，小幽靈們便千方百計呼喚他來捉，以便重見天日，安息轉世。天真可愛又聰明的小妹妹，一心要拯救被鬼迷的哥哥，她與一個文具店爺爺成了妙趣好朋友，當她知道他是鬼不是人後也不害怕，最後一起前往海邊冒起的幽靈學校，完成數十年前的游戲規則，這是動人的高潮。
這部影片有無邪的童真，手法也相當細致，甚值得觀看。
你看的是第二部
Ⅳ 日本恐怖電影評論誰有，最好是英語文章！！急急急！謝謝了！！
The Best Japanese Horror Films of All Time, Part 1
by Dejan Ognjanovic
HAUNTED PAST, PSYCHOTIC PRESENT, DYSTOPIAN FUTURE
Japanese tradition of cinematic terror goes all the way to the 1920-ies (A PAGE OF MADNESS, 1926). In the following decades there were several adaptations of classic ghost stories, but they reached the Western shores only with Kenji Mizoguchi's UGETSU (1953), winner of the Silver Lion award at the prestigious Venice film festival, and the much-praised omnibus KWAIDAN (1964: see below), winner of the Special Jury Prize at Cannes. Reaching the Western festivals, and occasional distribution as well, these and many other titles showcased the treasures of Japanese folklore filmed with a lush cinematic style. They were made by well-known directors and stars, with respectable budgets, and exemplified high artistic standards at the time when Western horror was dominated by B-movie quickies of Roger Corman and Hammer proction.
Dedicated for decades to its own folklore, Japan was fully recognized as a major player on the international horror scene only in the 1990-ies, when a series of young and brave directors abandoned costumed period pieces and embraced horror as a part of everyday, contemporary reality. Horror was no longer a fairy-tale like thing from the past: it was recognized as a major constituent of the current spirit of times. Horror tropes became essential for expressing the worldview of the new generation of Japanese directors such as Shinya Tsukamoto, Kyoshi Kurosawa, Sogo Ishii, Hideo Nakata, Takashi Miike and others. Their language of horror was not lost in translation: it was embraced by the jaded Western fans as a breath of fresh air (but also as a welcome variation for the money-grabbing procers yearning for the latest remake idea).
There are three dominant topics found in the majority of Japanese horrors, exemplified in the very title of this overview: ghost stories (both period and modern), psycho killers and bleakly futuristic cyberpunk horrors. They metaphorically represent a dark worldview in which the past is seen as a source of terror (usually merged with guilt), the present is a source of paranoia in which indiviality and meaningful existence are threatened by a large-scale insanity, while the future is equally threatening with body mutation, identity dissolution and technological overkill. These themes occasionally overlap, and our division cannot be scalpel-precise, but it should serve the purpose of showing the undercurrents of the dominant trends in Japanese horror cinema, and the subtexts beneath the apparently innocuous genre cinema.
Because of an incredible number of significant titles dealing with psycho killers, that topic will be divided into two parts, while the final, fifth part of this series is devoted to important titles which could not be forced into any of the three major thematic divisions. Thus, our selection of the best Japanese horror films will be presented in five parts:
1. Ghosts
2. Psychos (1): PSYCHO OBSESSION
3. Psychos (2): SERIAL KILLERS
4. Futuristic (cyberpunk) horrors
5. A league of their own
-----------------
1. GHOSTS
Japanese ghosts, naturally, obey the rules of Shinto beliefs, but in their essence they are not much different from the Western ones. These apparitions (yurei) are created when a person dies suddenly and violently (including a rush suicide), thus leaving a certain 'business' among the living – unfinished. Improper burial is another common cause of haunting this world instead of joining the souls of the ancestors. Revenge remains the main purpose of these ghosts. Much can be read into the fact that Japanese ghosts tend to be almost exclusively female. Is it a national guilt projected and transformed into fear because of the violently subordinate place women had in the traditional Japanese society? Is it a way of admitting that the wronged ones (those most eager to avenge themselves) tended to be mostly – women? Whatever the case may be, there are much fewer stories and films about male ghosts (when they appeared, they were mostly warriors haunting their last battlefield).
Yurei are usually dressed in a long white robe, actually a kind of simple kimono (katabira), in which people were buried in the old days. Portrayed more or less the same as mortals, they are easier to mistake for a living person than their Western, transparent counterparts. Pale face and long black hair are the only hints of something amiss. According to same later beliefs, yurei have no legs, which means that they float instead of walk, but in theatrical or cinematic versions of ghost stories this detail is usually hidden beneath the long kimono, or disregarded altogether.
The most prolific Japanese director to deal with the traditional ghosts was Nobuo Nakagawa, with his classics THE GHOSTS OF KASANE SWAMP (1957), THE MANSION OF THE GHOST CAT (1958) and especially THE GHOST STORY OF YOTSUYA (1959). These titles are, unfortunately, still hard to find in the West and thus must be omitted, for the time being, from this selection. The same goes for a later addition to this sub-genre, Nobuhiko Obayashi's HOUSE (1977), which rates very highly among the few Western fortunates who were able to see it. Having in mind these omissions, the following selection should be sufficient to cover the best of the best among Japanese ghostly horrors.
KWAIDAN, 1964
Dir: Masaki Kobayashi
"Black Hair": A poor man abandons his wife and marries a rich woman. Unhappy with her, he goes back to his first wife, but realizes a bit too late that she's no longer alive... "Hoichi, the Earless": A blind young monk goes every night to an abandoned graveyard, compelled by the ghosts of a famous battle to retell their story, over and over again... "The Snow Maiden": A woodcutter marries a woman who just happens to be devoted to wander snowy landscapes, bringing death to mortals. "In a Cup of Tea": A warrior is menaced by an elusive spirit first seen in a cup of tea staring up at him...
One of the first Japanese films to gain wide international recognition is also a matchless spook-fest of highest order. This omnibus, based on four ghost stories recorded by Lafcadio Hearn, showcases the riches of Japanese folklore, but also the riches of cinematic talent. As directed by Masaki Kobayashi, KWAIDAN is a painterly exercise in style, a stunning eye candy whose painted sets' artificiality only stresses the fairy tale aspects, never undermining the main effect: chill. Terror and beauty are merged just like the world of the living and the world of the (un)dead. Japanese ghosts do not come from a distinctly separated otherworld (as they do in the West): they are here, omnipresent, all the time. That is, if they are wronged, or with some business left unfinished. The mortal trespasses, witting or unwitting, are ly punished in all four parts of this omnibus, and thus they function as morality tales as well. The first tale is similar to UGETSU, being an allegory of male desire for wealth at any cost with a supernatural angle handled with much more zest for terror than UGETSU (which was not much concerned with frights and thus cannot be labelled a horror film). KWAIDAN is one of the most beautiful films of any nation, period or genre. It is also the grand-daddy of all Japanese ghost stories, unsurpassed even now, more than four decades later.
KURONEKO, aka THE BLACK CAT, 1968
Dir: Kaneto Shindo
A beatufil young woman and her mother-in-law are raped and killed by a marauding group of samurai. They come back as ghosts bent on secing and killing the hateful warriors. The real trouble starts when their son and husband comes back home as a samurai. Will they be able to evade the vow they've made to the vengeance demons?
From the director of ONIBABA (see part 3 of this guide) here comes his second-best horror film, with visuals even more stunning than before (in glorious black and white). The woods are haunted by the sective spectre who has no trouble attracting the weary warriors to a secluded house for an evening of sake, conversation and throat-ripping. Beautiful, poetic, but quite gory as well, this is a wonderful horror film with an intelligent subtext and a strong moral core (just like ONIBABA). It condemns an entire caste - not only the samurai but their rulers as well (shown to be equally contemptible). At the same time, it presents revenge as a morally bious endeavor and deals with complex emotions rarely found in European and American gothic films of the time. Just like KWAIDAN and ONIBABA, it has been recently included in EUREKA'S 'Masters of Cinema' DVD series, and rightly so!
RING, 1998
Dir: Hideo Nakata
KFCC Review: Click Here!
A single-mother reporter investigates a series of mysterious deaths which seem to be connected with watching a certain video tape. After watching it herself, she becomes enmeshed in the race with death which only gets worse when her son watches the tape too. She has only seven days to save herself and her son, or else... Sadako will cause some more death-of-fright face disfigurements...
RING starts with a bang (SCREAM-style) but continues with a relatively subed mystery which builds and builds and BUILDS until it explodes in a virtuoso double-bang finale. Or make it triple-bang, because the scenes of emptying the well and Videodrome-Sadako surprise are followed by the ending whose chilling implications are rightly presented as apocalyptic in that great final shot. A masterpiece of suggestion, RING is everything a great horror needs to be: subtle, scary, shocking, unobtrusively gruesome, visceral as much as cerebral and spiritual, convincingly ridiculous and ridiculously convincing, metaphysical, thought provoking, imaginative and strikingly memorable. It burns itself into your psyche never to leave your (sub)conscious with images which correspond with the deepest fears of mankind: fear of the dark, of death, fear of loss of a loved one (especially a child!), fear of forces surpassing our control and understanding, fear of gods and demons, lonely places, deep wells, dark waters... RINGU reminds us that Japan is a tiny piece of land surrounded by the vicious, mysterious ocean: this land in itself becomes a metaphor for our position in the cosmos the way Lovecraft wrote: 'We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far.' And Lovecraftian hints are cleverly present in Sadako's otherworldly origin: 'Frolic in brine, goblins be thine'. Mostly remembered for its striking set-pieces – especially the much copied but never surpassed Sadako's emergence from the TV set – RING is equally masterful in its quieter moments, like a spooky scene in which our protagonist 'meets' (sort of) Sadako in broad daylight, in the park, surrounded by people. Blessed and cursed by being a trend-setter, RING is not responsible for dozens of copies or for the fact that all of them (including an inferior American remake) pale in comparison to its achievements.
SÉANCE, 2000
Dir: Kyoshi Kurosawa
A young pair abcts a little girl hoping for ransom. The girl, however, dies. They get rid of the body, but can they get rid of the spirit?
Made for TV and slightly overshadowed by PULSE, made a year later, Kurosawa's SÉANCE is a great example of spook cinema. Inspired by an old British black comedy, SÉANCE ON A WET AFTERNOON (1964), it showcases the use of quiet moments, silence and broad daylight for exposing very dark (but occasionally darkly comical) aspects of (in)humanity. Restrained, like most of his other films (if you do not count his early slasher, GUARD FROM UNDERGROUND), this is a film that does not so much rely on shocks and jump scares as it does on the shiver incing atmosphere which gets heavier and heavier.
PULSE, 2001
Dir: Kyoshi Kurosawa
KFCC Review: Click Here!
When there is no more room in Hell, the dead will walk... the internet? It seems so, after more and more people are found dead next to their computers. Even worse, they tend to leave vague black smudges as only traces of their former existence. And the situation grows more and more apocalyptic...
A highly idiosyncratic mixture of teen-horror and art film, PULSE works like a mutant offspring of Tarkovsky and Cronenberg sprinkled with heavy doses of RING spookiness. Its horrors are based on the idea that the real hell would be if not even death could bring the delivery from empty, pointless existence – if solitude and emptiness just kept growing in the afterlife. Kurosawa's point seems to be that his protagonists are already 'dead' – dead in life, living virtual lives in the cyberspace. The second half may be a bit self-inlgent, and any semblance of coherence is thrown away for the sake of random uber-scary scenes. Excellent sepia-toned, mute-colored photography and elaborate sound design and score work wonders in terms of an oppressive atmosphere of doom 'n' gloom, but one wishes Kurosawa opted for a more linear narrative and just slightly more coherent ending. The end, by the way, brings this film very close to the category of 'bleak futuristic/apocalyptic' horrors, to be dealt in detail in part 4. of this series.
DARK WATER, 2002
Dir: Hideo Nakata
KFCC Review: Click Here!
Another single mother in Nakata's oeuvre, this time with a small daughter, rents a dilapidated apartment in an equally gothic building. The growing stain on the ceiling is only the beginning of much greater problems of supernatural origin.
Heavy on atmosphere and drama, low on rhythm and ambition, Nakata's follow-up to RING does not even attempt to top it in any regard. Instead, the whole ghost story is used as a kind of background for a not-too-exciting drama about mother-daughter relationship. With only a few characters confined to a single setting DARK WATER may be too small to merit a feature running time, and some viewers may feel the running time stretched a bit. If you do not expect another masterpiece there is a lot to enjoy in the visuals and elaborate soundscape (always reliable Kenji Kawai provides adequately brooding dark ambient score), but the slim story and not too original denouement prevent this from achieving a level of 'classic' and confine it to a 'slightly above average spook-o-rama'.
THE GRUDGE, 2002
Dir: Takashi Shimizu
KFCC Review: Click Here!
A series of vaguely connected people come (one after another) to an unassuming haunted house and are killed by its ghosts. The end. Actually, to be continued.
Shimizu must be the only respectable director who has remade a film of his more than once (I stress 'respectable' so as to exclude Jesus Franco and the like). Originated as a direct-to-video cheapie, it got a video-sequel (criminally cheating by reprising at least half of the original film's footage!), a Japanese theatrical remake (which also got a sequel), and then the American remake (plus sequel)! There are good things to be said about both theatrical versions: the Japanese is fresher and colder, the American is more linear and easier to follow. They both provide good scares, undermined only by the fact that there are no developed characters to root for. Too fragmentary for its own good, THE GRUDGE is less than the sum of its parts, more like a cinema equivalent of a carnival 'Ghost house' ride than a real film with developed story.
ONE MISSED CALL, 2003
Dir: Takashi Miike
Randomly selected teenagers receive deadly messages on their cell phones, with their own last words/cries sent from three days in the future. Can you fight destiny? Even more importantly, can you afford to throw away your cell phone?
Unashamedly derivative, Miike's film is still delightfully quirky to provide interest and a lot of pleasure from more-than competently executed scenes of cell-phone terror. It is organized around set-pieces – who could forget the train suicide or death in front of TV studio's cameras? – while the story and characters are weak and secondary. The resolution of the mystery is convoluted (and ultimately rendant) while the final showdown goes so over the top it verges on the ridiculous. Never boring, but also rarely more than vaguely intriguing, ONE MISSED CALL is a well-made scare-fest which proves that Miike can function equally well within the mainstream proction as he does outside of it.
BOX, 2004
Dir: Takashi Miike
KFCC Review: Click Here!
A female novelist suffers from memories/nightmares having to do with her past, or at least a version of it. She is tormented by dreams/visions of two little sisters, carnival performers: in the fight over father's affection one of the girls is killed. The remaining one keeps dreaming of being buried alive...
Miike's segment in the Asian horror anthology THREE EXTREMES is (surprisingly! but aren't surprises his trade mark?) the least extreme of the three. Rather restrained for his standards, it is a deliberate surreal mystery whose playing with reality may be confounding for some viewers, but the visual and atmospheric mastery in some scenes is the closest that any Japanese director has come to the beauty of KWAIDAN.
鏈接：https://pan..com/s/18lNrNlEnGyVO_tKU8KgHGg?pwd=insk提取碼：insk
Ⅶ 日本血腥恐怖電影有哪些
日本最出名的血腥恐怖電影就是貞子系列和午夜凶鈴系列了。
Ⅷ 請介紹幾個日本的恐怖電影吧
咒怨
下水道人魚
富江系列
咒怨系類：伽椰子 俊雄
鬼娃娃花子：日本校園類型的恐怖片
the Grudge1,2(清水崇)
還有美國版咒怨1、2、3(清水崇)也很刺激哦
嚇死鬼(泰國)
姐妹情深（韓國）強力推薦 主演：林秀晶
紅鞋（韓國）推薦
猛鬼套房(泰國)雖恐怖,更多還是難過,遺憾
鬼女魔咒(清水崇)推薦
筆仙(韓國)
鬼水凶林(日本)
怪談比留子（日本）1993
香頌鬼屋(泰國)
恐怖護理站(泰國)
抽像畫中的越南少女（韓國）
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案山子（日本）由日本和香港合資，改編自日本恐怖漫畫大師伊藤潤二的兩個短篇故事《墓標之町》與《案山子》。
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催眠（日本）1999
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漩渦（日本）2000：同樣改變自伊藤潤二的同名作品漩渦，看電影不如去看漫畫，拍的太爛
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靈縛
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另一個天堂之血移魂（日本2000 導演：飯田讓治 主演：江口洋介 市川富和子 柏原崇 崗元夕紀子
性、食物、女人 301/302 (1995) 韓國
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卡到陰 Colic: dek hen pee (2006) 泰國
心魔大審判 Sky High (2003) 日本 導演：北村龍平
寄生前夜 Parasaito Ivu (1997) 日本 導演：落合正幸
裂口女1、2
靈異咒 （日本2005）導演：白石晃士 主演：小林雅文 詛咒是在你身邊真實存在的駭人怨念 為了一窺自古流傳至今的詛咒原貌 犧牲性命拍攝的真實紀錄將震撼世界。 推薦
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伴雨行 I COME WITH THE RAIN（法國）（匯聚日本，韓國，香港，美國等幾國明星）越南導演陳英雄2008最新（主演：喬什·哈奈特，木村拓哉，李秉憲，余文樂，歐塞維奧·龐塞拉，陳女燕溪）類型：驚悚，血腥，動作，激情-----強烈推薦