日本十大经典的恐怖电影：《鬼家怪谈》、《鬼娃娃花子》、《涉谷怪谈》、《咒怨》、《午夜凶铃》。
1、《鬼家怪谈》
沉浸在丧妻之痛中的大和充，带着女儿爱实搬进一幢离车站偏远但非常便宜的老旧公寓，没想到却从此陷入意想不到的恶梦之中。
爱实一家从搬家开始便不断发生怪事：屋檐上的怪异人影、空屋里的神秘少女、午夜12点前没回到公寓前的白线内，就会被恶灵蹂躏至死的恐怖预言、13户人家因想搬家而惨遭怨灵迫害而死的诡异传言等等。
5、《午夜凶铃》
女高中生友子和同学共同看了一盘来历不明的录像带，七天后，她和她的同学相继死去，这引起了女记者浅川（松岛菜菜子饰）的关注，她决定调查这个事件的真相。浅川了解到友子死前曾因看一盘录像带惊吓过度而住院，于是她找到了出租那盘录像带的旅店，也租了那盘没有名字的带子，打开录像机。
Ⅱ 恐怖片英文怎么说
问题一：鬼片用英语怎么讲 楼主说的是 horror (movie)
楼上所说的thriller不是恐怖片，而是惊险片
动作片（action)
浪漫片（romance)
喜剧片(edy)
剧情片(drama)
动画片(animation)
惊险片(thriller)
科幻片(science fiction)
恐怖片（horror)
问题二：恐怖片的英语怎么说 thriller
有惊悚片，惊险小说的意思。强调剧情惊险
而horror film 和 dracula movie 都是恐怖片的意思。
要说区别就是 horror film用的范围更广泛，更常见。
问题三：恐怖片的英文翻译 fright flick就是“恐怖片”，也可以用horror film/movie类表示。Fright一词大家很熟悉，是“惊吓、恐怖”的意思。Flick是口语，意思是“电影，影片”。例如：action flick（动作片），play a role in the flick（在电影中扮演一个角色）。The flicks则是电影的总称，有时也指“电影院”。例如：What’s on at the flicks tonight?（今晚电影院放映什么影片？）又如：Fancy a night at the flicks?（晚上想去看电影吗？）Fl还可以和其他词相组合，表示各种类型的影片。例如“喜剧片”是ic flick，“科幻片”是science fiction flick。Chick flick则是针对女性观众的浪漫喜剧或文艺爱情片。
问题四：喜剧片的英语怎么说？ 还有恐怖片等 喜剧片edy
恐怖片horror film 。horror movie
悬疑片suspense film。Thrill。Mystery
动作片action movie。actioner。action film
科幻片science fiction film。science fiction movi户。fi film
剧情片feature film。story film。Drama
青春片youth film
歌舞片MUSICAL FILM
家庭片Family films
文艺片literary film。lterary flm。literacy film
罪案片Crime movie
武侠片sword *** en film。soword *** enfilm。Martial Arts
爱情片affectional film
战争片war movie
灾难片disaster
惊悚片thriller
纪录片newsreel
问题五：恐怖电影 怎么翻译啊(英语) scary movie
Ⅲ 求一部日本恐怖片名字
屠尸行动？
中文名字：屠尸行动
英文名字：Stacy: Attack of the Schoolgirl Zombies
导 演： Naoyuki Tomomatsu
国 家： 日本
时 长： 80min
年 代： 2001
在日本某城市有一种“NDH”恐怖的病毒没有得到及时的控制，使这个城市中成千上万的感染者变成丧尸威胁着整个人类。但这些人群竟是清一色的女高中生。原来这种病毒只会感染年龄在16岁以上的女性（变态的rb~~），让她们变成丧尸来吞噬男人。对于这种状况，国家便成立了再杀小组，对整个城市进行清理。可是，她们中间也有自己的亲人，使他们无法下手，反而被活尸生生吃掉。于是，在这种复杂的关系中，他们与丧尸之间展开了一场骇人的战斗。
可男人毕竟不是女人的对手（真理...），就在人种快要灭绝之前，意想不到的事情发生了... ...
本作的主角在自己的女朋友变成丧尸之后，就拿电锯把她分尸了（是她死前自己要求的~~~）。并且在播出的电视促销活动中，还有建议用这种电锯将女孩杀死的广告......
Ⅳ 求日本校园恐怖片
学校怪谈 Gakkô no kaidan (1995)
某学期暑期结业式后，学校放了假。二年级学生美夏因把画具忘在教室，独自一人来到学校。美夏正想取了画具回家时，一个足球吸引她走向传说有幽灵出入的旧校舍。她在女厕所里被一个东西抓住了。美夏的姐姐亚树去找她也被魔力引入旧校舍。路上遇到了研辅、将太、香织等同学。亚树坚持独自一人去找美夏，最后大家发现都被关在旧校舍中。这时他们面前出现魔怪，被一个巨人追逐，亚树偶然从壁炉中逃出。为了救还在旧校舍的同学，亚树带着小向老师和家长再次潜入旧校舍。在校园里的阿均在朋友的帮助下在校园里画了一个封魔圈，把被打坏的东西放在圈内，那些东西变成哈尼太郎散发着光芒。旧校舍内小向先生被追得走投无路，发现一个非常出口，他打碎玻璃跳出来，孩子们也逃了出去。大家发现香织不在，这时香织打来电话说她在医院里。经过这一次历险，原来与同学有隔阂的亚树与同学们建立了友谊，同学们都成长了，渡过了一个愉快的暑假。
学校怪谈2 Gakkô no kaidan 2 (1996)
4月4日，学生们在传说中闹鬼的学校进行寻鬼游戏，到了下午4点44分，诡异的事情发生了……
学校怪谈2 Gakkô no kaidan 3 (1997)
镜中的世界。完全颠覆的生活。恐怖的经历。亲情。
大志是一名体弱多病的学生，每次举行运动会，他只能远远的观望，流露着羡慕的眼光。『妖怪』利用了大志的思想，把其它同学带到自己镜里的世界。在最危急的情况下，他们发挥了友谊的力量，但这又能否把他们带回现实世界呢？
学校怪谈2 Gakkô no kaidan 4 (1999)
由平山秀幸导演、奥寺佐渡子编剧的这部鬼片，从片名看来是跟风之作，前面已有三集，但此片意外地拍得很用心，制作认真，没有大搞又凶又猛、血肉淋漓的绰头，全片保持小乡镇风味，以小孩和老人为主，注重家常情调和好心善意。
故事用怀旧的手法描述数十年前一次暑假，几个男女小学生在空空旧旧的学校内玩猜拳和捉迷藏，那知忽然发生海啸，捉迷藏躲起来的小童们遇害了，但他们的幽灵，仍然一直在等候负责'捉'的那个同学到来寻找。日本人似乎很重视信约，捉迷藏也这样，游戏未完，躲藏的小童是不能出来的，做鬼也要守约。一对东京小兄妹到该镇姨妈家中度假。小哥哥的名字跟当年唯一脱险的小男生相近，小幽灵们便千方百计呼唤他来捉，以便重见天日，安息转世。天真可爱又聪明的小妹妹，一心要拯救被鬼迷的哥哥，她与一个文具店爷爷成了妙趣好朋友，当她知道他是鬼不是人后也不害怕，最后一起前往海边冒起的幽灵学校，完成数十年前的游戏规则，这是动人的高潮。
这部影片有无邪的童真，手法也相当细致，甚值得观看。
你看的是第二部
Ⅳ 日本恐怖电影评论谁有，最好是英语文章！！急急急！谢谢了！！
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.
链接：https://pan..com/s/18lNrNlEnGyVO_tKU8KgHGg?pwd=insk提取码：insk
Ⅶ 日本血腥恐怖电影有哪些
日本最出名的血腥恐怖电影就是贞子系列和午夜凶铃系列了。
Ⅷ 请介绍几个日本的恐怖电影吧
咒怨
下水道人鱼
富江系列
咒怨系类：伽椰子 俊雄
鬼娃娃花子：日本校园类型的恐怖片
the Grudge1,2(清水崇)
还有美国版咒怨1、2、3(清水崇)也很刺激哦
吓死鬼(泰国)
姐妹情深（韩国）强力推荐 主演：林秀晶
红鞋（韩国）推荐
猛鬼套房(泰国)虽恐怖,更多还是难过,遗憾
鬼女魔咒(清水崇)推荐
笔仙(韩国)
鬼水凶林(日本)
怪谈比留子（日本）1993
香颂鬼屋(泰国)
恐怖护理站(泰国)
抽像画中的越南少女（韩国）
鬼铃（韩国）：讲述的是手机和婚外情的事
突然某天之黑暗森林
突然某天之D－12天
突然某天之第四层
突然某天之2月29号
鬼来电 1、2、3
恶魔在身后(韩国)剧情非常棒推荐
卸尸宴(韩国)
大提琴(韩国)
狰狞(韩国)
大逃杀1、2
遗失物(日本)推荐
灵魂密码（泰国）推荐
棺木（多国合拍）
死神的精度（日本）
阿娘（韩国）
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