📚 Year 12 WJEC Media Studies: Quick Glossary Guide | Year 12 WJEC 媒体：词汇术语速记指南
Welcome to your essential quick glossary for Year 12 WJEC Media Studies. In this subject, precise terminology is the key to cracking the analysis questions and demonstrating your understanding of media texts. This guide is structured around the core conceptual areas of the WJEC specification – media language, representation, audience, narrative, genre, and industry – and presents every term with a clear English definition followed by its Chinese equivalent and explanation. Wherever helpful, we add memory shortcuts to lock the terms in your long-term memory. Work through one section at a time, test yourself, and you will build a powerfully analytical vocabulary for exam success.
欢迎使用 Year 12 WJEC 媒体研究核心术语速记指南。在这门科目中，精准的术语是你破解分析题、展示对媒体文本理解的关键。本指南按照 WJEC 考纲的核心概念板块——媒体语言、表征、受众、叙事、类型和产业——进行编排，每个术语都先给出清晰的英文定义，再配以对应的中文解释。每逢实用之处，我们还会加入记忆口诀，帮助你将术语牢牢锁入长期记忆。每次攻克一个小节，时常自测，你就能建立起一套强大的分析词汇库，在考试中脱颖而出。
1. Media Language: Signs and Codes | 媒体语言：符号与编码
A sign is the basic unit of meaning in media language. It is made up of two inseparable parts: the signifier, which is the physical form (a word, image, sound), and the signified, which is the mental concept or meaning we associate with that form.
符号是媒体语言中最基本的意义单元。它由两个不可分割的部分构成：能指，即物理形式（词语、图像、声音等）；所指，即我们由此联想到的心理概念或含义。
Denotation describes the literal, dictionary-level meaning of a sign, what you objectively see or hear.
外延描述符号的字面意义、词典层面的含义，即你客观看到或听到的内容。
Connotation refers to the cultural, emotional or ideological associations that the sign carries. For example, a rose denotes a flower but connotes romance, passion, or remembrance.
内涵指的是符号所承载的文化、情感或意识形态上的联想。例如，玫瑰的外延是花朵，但内涵可涉及浪漫、激情或缅怀。
Semiotician Charles Peirce classified signs into three types: iconic signs resemble what they represent (a photograph of a dog); indexical signs have a direct, causal link (smoke indicates fire); symbolic signs rely on learned conventions (words, numbers, a dove for peace).
符号学家皮尔斯将符号分为三类：图像符号与所代表对象相似（如一张狗的照片）；指示符号与对象有直接的因果关系（如烟指示火）；象征符号则依赖约定俗成的规则（如词语、数字、鸽子象征和平）。
Memory tip: To recall the sign components, think of a traffic light. The red light (signifier) means stop (signified). For denotation vs connotation, remember 'D for dictionary, C for culture'.
记忆提示：回想红绿灯，红灯（能指）表示停车（所指）。区分外延与内涵，记住 “D for dictionary（字典），C for culture（文化）”。
2. Mise-en-Scène: Setting the Scene | 场面调度：场景布置
Mise-en-scène, a French term meaning 'put in the scene', encompasses everything visible within the frame. This includes setting, props, costume, hair and make-up, lighting, colour, and the positioning and movement of actors.
Mise-en-scène 这个法语词意为“置于场景之中”，涵盖了画框内可见的一切：场景、道具、服装、发型与妆容、灯光、色彩，以及演员的站位和动作。
Setting refers to the location where the action takes place, which can be a constructed studio set or a real-world location. The choice of setting immediately conveys genre and mood.
场景指剧情发生的地点，可以是搭建的影棚布景，也可以是实景拍摄。场景的选择能迅速传达类型与情绪。
Props are objects used by characters or placed in the scene to support narrative and characterisation; a detective's magnifying glass or a queen's crown instantly communicates identity and role.
道具是角色使用或摆放在场景中的物品，用以推动叙事和塑造人物；侦探的放大镜或女王的王冠能瞬间传达身份与角色。
Costume, hair and make-up construct a character's identity, status, era, and personality. Lighting establishes atmosphere – high-key lighting suggests optimism, while low-key lighting creates shadows and tension.
服装、发型与妆容塑造角色的身份、地位、时代与个性。灯光奠定氛围：高调照明暗示乐观，低调照明则制造阴影与紧张感。
Colour palettes carry symbolic weight. Warm colours (red, orange) may convey danger or passion; cool colours (blue, green) often suggest calm or detachment. The actor's body language and facial expression reveal inner emotions without words.
色彩搭配具有象征分量。暖色（红、橙）可传达危险或激情；冷色（蓝、绿）常暗示平静或疏离。演员的肢体语言和面部表情无需言语便袒露内心情绪。
Memory acronym: CLAMPS – Costume, Lighting, Actor (position/movement), Make-up/hair, Props, Setting.
记忆首字母口诀：CLAMPS – Costume 服装、Lighting 灯光、Actor 演员站位动作、Make-up/hair 妆发、Props 道具、Setting 场景。
3. Cinematography: Camera Work | 摄影：镜头运用
Cinematography is the art of capturing moving images. It involves shot sizes, camera angles, camera movement, and focus. Every decision shapes how the audience interprets the scene.
摄影是捕捉活动影像的艺术，涉及镜头尺寸、摄像机角度、运动及焦点。每个决定都在塑造观众对场景的理解。
Extreme close-up (ECU) isolates a detail, like an eye, to intensify emotion. A close-up (CU) fills the frame with a face, building intimacy. Medium shots (MS) frame characters from waist up, common in dialogue. Long shots (LS) show the full body and setting, and extreme long shots (ELS) establish the environment.
大特写（ECU）分离出一个细节，如一只眼睛，以强化情绪。特写（CU）让脸部充满画面，建立亲密感。中景（MS）拍摄人物腰部以上，常见于对话。全景（LS）展现全身及场景，而大远景（ELS）则确立环境。
A high angle looks down on a subject, making them appear vulnerable or insignificant. A low angle looks up, implying power or dominance. A canted or Dutch angle tilts the frame to create disorientation or unease.
俯拍自上而下拍摄，使主体显得脆弱渺小。仰拍自下而上，暗示权力或支配。斜角或称荷兰角倾斜画面，制造眩晕或不安感。
Camera movements include pan (horizontal swivel), tilt (vertical swivel), track/dolly (camera moves on rails towards or alongside action), crane shot (sweeping movement from above), handheld (shaky realism), and zoom (change in focal length, not physical movement).
摄像机运动包括摇摄（水平转动）、俯仰（垂直转动）、推轨/滑轨（摄影机沿轨道向主体或侧翼移动）、升降镜头（自上而下挥洒）、手持（抖动感营造真实感）和变焦（改变焦距而非机身位置）。
Memory trick: For shot sizes, use 'Every Cowboy Must Love Elephants' for ECU, CU, MS, LS, ELS. For angles, imagine an ant looking up (low angle feels big) and a bird looking down (high angle feels small).
记忆技巧：镜头尺寸可用 “Every Cowboy Must Love Elephants” 对应 ECU, CU, MS, LS, ELS。至于角度，想象蚂蚁仰视（仰拍感到高大）和鸟儿俯瞰（俯拍感到渺小）。
4. Editing: The Invisible Art | 剪辑：看不见的艺术
Editing is the process of selecting, sequencing, and combining shots to create a coherent narrative and rhythm. Continuity editing aims to make the cut invisible, so the story flows seamlessly.
剪辑是选择、排序和组合镜头以创造连贯叙事和节奏的过程。连续性剪辑力求让切换不被察觉，使故事流畅进行。
The 180-degree rule states that the camera must stay on one side of an imaginary line between two characters to maintain spatial consistency. Breaking this rule can disorient the audience.
180度规则要求摄影机保持在两个角色之间假想线的一侧，以维持空间一致性。打破此规则会让观众产生方向混乱。
Match on action cuts from one shot to another while a continuous movement is happening, such as a character opening a door. Shot/reverse-shot is used in dialogue, alternating between speakers to show reactions.
动作匹配是在一个连续动作（如人物开门）进行中将镜头切入下一个镜头，保持动作连贯。正反打常用于对话场景，在两个说话者之间交替，展示反应。
A montage compresses time or builds meaning by juxtaposing a series of short shots, often with music. Slow cutting lengthens shots to create suspense or contemplation, while fast cutting accelerates the pace for action sequences.
蒙太奇通过并置一系列短镜头来压缩时间或建立意义，常配以音乐。慢速剪辑延长镜头，营造悬疑或沉思；快速剪辑则加速节奏，适用于动作段落。
Common transitions include the cut (instant change), dissolve (one shot fades into another, suggesting a connection or time passing), fade to black (marks ending), and wipe (one shot pushes another off screen).
常见转场包括切（瞬时切换）、叠化（一个镜头渐隐融入另一镜头，暗示联系或时间流逝）、淡出至黑（表示结束）和划像（一个镜头将另一个推出画面）。
Memory: To recall continuity rules, think '180 = don't cross the line, match action = join the movement.' For montage, remember the training sequence in any sports film.
记忆：回想连续性规则，“180=别越线，动作匹配=连接动作”。蒙太奇就联想任何体育电影中的训练段落。
5. Sound: Audio Elements | 声音：音频元素
Sound in media is divided into diegetic sound, whose source exists within the story world (dialogue, footsteps, car engines), and non-diegetic sound, which is added for the audience only (a musical score, voice-over narration).
媒体中的声音分为剧情声，其声源存在于故事世界之内（对话、脚步声、汽车引擎），以及非剧情声，仅为观众而添加（配乐、画外音叙述）。
A sound bridge links two scenes by allowing the sound from the next scene to be heard before the image appears, smoothing the transition and maintaining flow.
声音桥提前让下一场景的声音出现，再切至图像，从而连接两个场景，使转场平滑、保持流动感。
Ambient sound (background noise such as birdsong, traffic hum) establishes the environment. Foley is the post-production creation of everyday sounds (footsteps, rustling clothes) to enhance realism.
环境声（背景噪音如鸟鸣、车流嗡鸣）确立环境。拟音是在后期制作中创造日常生活音响（脚步、衣料窸窣）以增强真实感。
Synchronous sound matches the action seen on screen (lip movement to dialogue), while asynchronous sound deliberately does not match, often used for ironic or unsettling effects.
同步声音与屏幕动作相匹配（嘴唇动作与对话同步），非同步声音则有意不匹配，常用于制造讽刺或不安。
Dialogue, voice-over, and direct address are all vocal elements. A musical score sets emotional tone, while silence can be equally powerful.
对白、画外音和直接面向镜头说话都属于人声元素。配乐奠定情感基调，而静默同样富有表现力。
Memory aid: Diegetic starts with 'D', think 'D for in the Drame (drama)'. Non-diegetic is 'N for Not in the story world'. Sound bridge: imagine a sound literally bridging two islands.
记忆助手：Diegetic 以 “D” 开头，联想 “D for in the Drama（戏剧内）”；Non-diegetic 是 “N for Not in the story world（不在故事世界）”。声音桥：想象声音真的架起两座岛屿。
6. Narrative Theories Made Simple | 叙事理论速成
Todorov's narrative theory proposes that stories move through five stages: an initial equilibrium, a disruption of that order, recognition of the disruption, an attempt to repair it, and finally a new equilibrium. Think of a fairy tale that starts peacefully, faces a dragon, and ends with a restored kingdom.
托多罗夫的叙事理论提出故事经历五个阶段：初始的平衡、秩序的打破、对打破的认知、修复的尝试，以及最终的新平衡。想想一个童话，从平静开始，遭遇恶龙，最后王国得以重建。
Vladimir Propp analysed folk tales and identified eight character types, including the hero, villain, donor (provides help), helper, princess (sought after), father (rewards the hero), dispatcher (sends hero on quest), and false hero. Not all types appear in every text.
弗拉基米尔·普洛普分析民间故事，归纳出八种角色类型，包括英雄、反派、赠与者（提供帮助）、帮手、公主（被追寻的目标）、父亲（奖赏英雄）、派遣者（派英雄执行任务）和假英雄。并非每种类型都会出现在每个文本中。
Roland Barthes introduced narrative codes; two of the most important are the enigma code, which sets up a mystery to intrigue the audience, and the action code, where a narrative event suggests further action will follow (a character pulling out a gun implies shooting).
罗兰·巴特提出叙事符码；其中最重要的是谜团码，它设置悬疑以吸引观众，以及行动码，即一个叙事事件暗示后续行动（某人掏枪暗示要开枪）。
Claude Lévi-Strauss proposed binary oppositions: stories are structured around opposing concepts such as good vs evil, past vs future, civilisation vs wilderness. These conflicts drive the narrative and reveal ideology.
列维-斯特劳斯提出二元对立：故事围绕着对立概念来构建，比如善与恶、过去与未来、文明与荒野。这些冲突推动叙事并揭示意识形态。
Memory hook: For Todorov, draw a circle divided into five arcs labelled EQ (equilibrium), DIS, REC, REP, NEQ (new equilibrium). For Propp, remember the seven dwarfs plus Snow White – many types are present.
记忆钩子：托多罗夫可画一个分成五段弧的圆，标上 EQ（平衡）、DIS（打破）、REC（认知）、REP（修复）、NEQ（新平衡）。普洛普则联想七个小矮人加白雪公主，正好包含多种角色类型。
7. Unlocking Genre | 解密类型
Genre is a category of media text defined by a set of conventions – recurring elements of narrative, style, iconography, and theme. A horror film typically includes a dark, isolated setting, a supernatural antagonist, and jump scares.
类型是按一套惯例（反复出现的叙事、风格、图像志和主题元素）来界定的媒体文本类别。恐怖片通常包括幽暗孤立的场景、超自然反派和突发惊吓。
Iconography refers to the visual and sound signs that instantly signal a genre – cowboy hats and revolvers for Westerns, spaceships and laser guns for sci-fi. The repertoire of elements is the full set of ingredients an audience expects from a genre.
图像志指那些立刻标示类型的视觉与听觉符号——西部片的牛仔帽和左轮手枪，科幻片的太空飞船和激光枪。元素库则是受众期待某个类型所具备的整套配方。
Hybridity occurs when two or more genres are combined, such as a romantic comedy or a sci-fi horror. A sub-genre is a more specific variant within a genre, like the slasher film within horror.
类型杂糅指两种或以上类型的结合，如浪漫喜剧或科幻恐怖片。亚类型则是某类型内部更为具体的变体，例如恐怖片里的砍杀片。
Intertextuality refers to the way one media text references another, creating layers of meaning for audiences who recognise the reference. Genre conventions evolve over time as producers repeat, vary, and challenge them.
互文性指一个媒体文本引用另一个文本的方式，能为识别出该引用的观众创造出多层次的含义。类型惯例会随着制作者不断重复、变异和挑战它们而演变。
Memory: To list conventions quickly, use GINC – Genre, Iconography, Narrative, Character types. For hybrid, think 'mixed smoothie'. For intertextuality, imagine a film poster that mirrors a famous painting.
记忆：快速列举报纸
Published by TutorHao | Year 12 媒体 Revision Series | aleveler.com
更多咨询请联系16621398022（同微信）
或截图后用「扫一扫 → 相册」选择本图