📚 IGCSE WJEC Media: Exam Changes and Trends for 2026 | IGCSE WJEC 媒体：2026年考试变化与趋势
As media landscapes evolve at an unprecedented pace, examination boards must update their specifications to stay relevant. The WJEC International GCSE in Media Studies is no exception. With first teaching from September 2024 and first examinations in June 2026, this new specification brings significant shifts in content, assessment structure and skills focus. Understanding these changes is crucial for students, teachers and centres moving from the outgoing 9660 specification. This article unpacks every key update and emerging trend you need to know about IGCSE WJEC Media for the 2026 examination series.
随着媒体格局以前所未有的速度演变，各考试局必须更新其课程大纲以保持相关性。WJEC国际GCSE媒体研究课程也不例外。新规格从2024年9月开始教学，2026年6月首次考试，在内容、评估结构以及技能重点方面均带来了重大转变。对于即将从旧的9660规格过渡的学生、教师和学校而言，理解这些变化至关重要。本文将为你详细解析2026年IGCSE WJEC媒体考试必须了解的每一项关键更新与新兴趋势。
1. Overview of the New Specification | 新规格概览
The 2026 WJEC International GCSE Media Studies specification (code 9665) replaces the outgoing 9660 syllabus. While the core aim of developing critical media literacy remains, the new structure responds to rapid shifts in digital technology, audience behaviour and the globalised media industry. The qualification is still graded 9–1 and retains a mix of external examinations and non-exam assessment, but the balance has been rethought to reward practical creativity and contextual analysis more effectively.
2026年WJEC国际GCSE媒体研究新规格（代码9665）取代了原有的9660大纲。尽管培养批判性媒介素养的核心目标没变，但新结构回应了数字技术、受众行为以及全球化媒体产业的快速转变。该资格仍采用9–1评分，并保留了外部考试与非考试评估相结合的模式，但重新思考了各部分占比，以便更有效地奖励实践创造力与语境分析能力。
- New code: 9665 | 新代码：9665
- First teaching: September 2024 | 首年教学：2024年9月
- First assessment: June 2026 | 首次评估：2026年6月
- Final 9660 series: June 2025 (with a final resit in 2026 for some components) | 9660最后考试系列：2025年6月（部分部分在2026年有最后一次重考机会）
2. Updated Set Media Products | 更新版指定媒体产品集
One of the most visible changes for 2026 is the refreshed list of set products which students must study in depth. The old specification drew heavily on texts from the 2010s; the new specification brings in more recent and globally diverse examples. Students will analyse television crime drama sequences, music videos, film marketing, video games and online media that reflect the streaming era and participatory culture.
对2026年考试而言，最直观的变化之一是指定媒体产品集的更新，学生必须深入学习这些文本。旧规格大量使用了2010年代的文本；新规格则引入了更新近、更具全球多样性的案例。学生将分析的电视犯罪剧集片段、音乐视频、电影营销、电子游戏以及网络媒体，均反映了流媒体时代和参与式文化的特征。
For instance, a television product might be an episode of a series like Heartstopper (2022) or a crime drama reflecting contemporary social concerns. Music video choices could include artists such as Olivia Rodrigo or Central Cee, while video game study may shift towards live-service titles like Fortnite or narrative-driven games. These choices require learners to engage with current industrial contexts, regulatory debates and fan cultures.
例如，一个电视产品可能是《心跳漏一拍》（2022）这样的剧集，或者反映当代社会关切的犯罪剧。音乐视频的选择可能包括Olivia Rodrigo或Central Cee等艺人，而电子游戏的研究可能转向《堡垒之夜》这类持续服务型游戏或叙事驱动型游戏。这些选择要求学习者关注当下的产业语境、监管争议以及粉丝文化。
3. Major Shifts in Assessment Weighting | 评估权重重大调整
Under the outgoing 9660, the non-exam assessment (NEA) contributed only 20% to the final grade, with the two written papers each carrying 40%. The new 9665 specification increases the NEA weighting to 30%, while Component 1 accounts for 40% and Component 2 drops to 30%. This rebalancing signals a clear intent: examiners want students to demonstrate media skills through their own creative production, not just through analytical writing.
在旧的9660规格下，非考试评估（NEA）仅占最终成绩的20%，而两份笔试各占40%。新的9665规格将NEA权重提升至30%，部分一占比为40%，部分二则降至30%。这一重新平衡传递了清晰的意图：考官希望学生不仅通过分析性写作，更要通过自己的创意制作来展现媒介技能。
| Component | 部分 | Old 9660 Weighting | 旧9660权重 | New 9665 Weighting | 新9665权重 |
|---|---|---|
| Component 1: Exploring the Media | 部分一：探索媒体 | 40% | 40% |
| Component 2: Understanding Media Forms | 部分二：理解媒体形式 | 40% | 30% |
| Component 3: NEA – Creating Media | 部分三：NEA – 创作媒体 | 20% | 30% |
Teachers will need to allocate more curriculum time to the NEA portfolio, which now includes a requirement to produce a statement of intent and reflect on professional practice. This shift aligns with industry expectations of media graduates who can both analyse and produce content.
教师将需要安排更多课时给NEA作品集，该作品集如今还要求撰写创作意图陈述并反思专业实践。这一转变符合行业对既能分析又能产出内容的媒体毕业生的期望。
4. Component 1: Exploring the Media – New Demands | 部分一：探索媒体——新要求
Component 1 remains a 1 hour 30 minute written examination worth 80 marks. However, the question types have been refined. All four key media concepts – media language, representation, media industries and audiences – will be assessed in relation to a previously unseen audio-visual or print extract as well as the set products. Students must now demonstrate synoptic thinking by linking concepts explicitly, for example explaining how industry ownership shapes representation.
部分一仍为1小时30分钟的笔试，共80分。但题型有所优化。四大关键媒介概念——媒介语言、表征、媒体产业与受众——都将结合一段学生之前未见过的视听或平面印刷材料以及指定产品进行评估。现在学生必须展示出综贯式思维，将各概念明确地联系起来，例如解释产业所有者如何影响表征。
A new feature is the 'comparative response' task, where students compare a set product with a resource provided in the exam. This rewards learners who can apply theories across different media forms. Regular timed practice with unseen texts will be essential for success in this component.
新特色是“比较回答”任务，要求学生将某一指定产品与考试提供的素材进行对比。这能奖励能够跨不同媒介形式应用理论的学生。定期使用未曾见过的文本进行限时练习，将是这一部分取得成功的必要条件。
5. Component 2: Understanding Media Forms – A Leaner Paper | 部分二：理解媒体形式——更精炼的试卷
A significant structural change is that Component 2 has been shortened to a 1 hour 15 minute examination, carrying 60 marks instead of the previous 100 marks. This paper now focuses exclusively on in-depth studies of a small range of media forms: television, music and online media. The reduction in scope allows deeper, more contextualised analysis.
一个重大的结构变化是，部分二缩短为1小时15分钟的考试，共60分，不再是之前的100分。这份试卷现在仅聚焦于一小部分媒介形式的深入研究：电视、音乐和网络媒体。范围的缩小让更深入、更具语境的分析成为可能。
Extended response questions will ask candidates to evaluate media products in their wider social, cultural and economic settings. For example, a question on a music video might require a discussion of how digital platforms have changed audience consumption habits and artist promotional strategies. This format reduces the breadth of revision required but increases the expectations for critical depth and independent research.
长答题会要求考生在更广阔的社会、文化和经济背景下评价媒介产品。例如，关于音乐视频的题目可能要求讨论数字平台如何改变受众的消费习惯和艺人的宣传策略。这一形式减少了复习的广度，但提升了对批判深度与自主研究的期望。
6. Component 3: NEA – Creative Production Redefined | 部分三：NEA——重新定义的创意制作
The NEA brief is more open-ended in the new specification, allowing learners to choose from a range of production tasks such as creating a film trailer, a podcast episode, a website or a social media campaign. The emphasis is on convergent media and cross-platform thinking. The portfolio must include a statement of intent (approx. 300 words) and a production workbook demonstrating research, planning and evaluation.
新规格中的NEA任务简章更具开放性，允许学生从一系列制作任务中选择，例如创作电影预告片、播客节目、网站或社交媒体活动。重点在于融合媒体和跨平台思维。作品集必须包含一份意图陈述（约300字）以及展示调研、规划与评价的制作工作日志。
Marks are awarded for creative technical skills, application of media language conventions and the overarching conceptual vision. Centres are encouraged to use industry-standard software, but the assessment criteria are platform-agnostic. This change promotes differentiation and allows students to play to their strengths, whether in video editing, graphic design or sound production.
分值根据创意技术技能、媒介语言惯例的应用以及总体概念愿景进行评定。鼓励学校使用行业标准软件，但评估标准并不依赖于特定平台。这一变化促进了差异化，让学生得以发挥自己在视频剪辑、平面设计或音频制作方面的优势。
7. Strengthened Focus on Digital and Social Media | 数字与社交媒体的焦点强化
Media ownership, algorithmic curation and participatory culture are now woven explicitly through all components. Set products include online and social media texts such as influencer profiles, TikTok trends or Instagram campaigns. Students must engage critically with concepts like filter bubbles, viral marketing and data-driven content creation.
媒体所有权、算法推送与参与式文化现已明确贯穿所有部分。指定产品包括网红个人资料、TikTok趋势或Instagram宣传活动等在线与社交媒体文本。学生必须批判性地审视过滤气泡、病毒式营销以及数据驱动的内容创作等概念。
Theories such as Uses and Gratifications and the End of Audience theories are applied to contemporary platforms. Exam questions might ask how platforms like YouTube or Spotify shape user experience and audience autonomy. This trend mirrors the real-world demand for media literacy in a post-truth digital environment.
使用与满足理论以及受众终结论等理论被应用于当代平台。考题可能问及YouTube或Spotify等平台如何塑造用户体验与受众自主性。这一趋势反映了后真相数字环境中对媒介素养的现实需求。
8. Embedded Theoretical Framework | 嵌入式的理论框架
While the old specification encouraged use of theory, the new 2026 examinations explicitly require students to draw upon named theorists in their responses. Key theorists include Roland Barthes (semiotics), Tzvetan Todorov (narrative), bell hooks (intersectional representation), Henry Jenkins (participatory culture) and David Hesmondhalgh (cultural industries).
尽管旧规格鼓励使用理论，但2026年新考试明确要求学生在答题中引用指定的理论家。关键理论家包括罗兰·巴特（符号学）、茨维坦·托多罗夫（叙事）、贝尔·胡克斯（交叉性表征）、亨利·詹金斯（参与式文化）以及大卫·赫斯蒙德哈尔（文化产业）。
A common pitfall is to name-drop theories without application. Assessment objectives reward learners who can integrate theoretical frameworks with specific textual evidence. For example, when analysing a music video, a high-scoring response would use Laura Mulvey's male gaze to discuss camera angles and then contrast this with post-feminist readings.
一个常见的陷阱是仅仅掉书袋而不进行应用。评估目标奖励的是能将理论框架与具体文本证据相结合的学习者。例如，在分析音乐视频时，一份高分答卷会运用劳拉·穆尔维的男性凝视讨论镜头角度，并随后与后女性主义解读进行对比。
9. Contexts: Historical, Social and Economic | 语境：历史、社会与经济
A stronger emphasis on contextual knowledge means students must go beyond textual analysis to understand production conditions, regulatory frameworks and audience reception at the time of release and today. The new specification outlines specific contextual areas for each set product, including historical background, technological developments and economic factors like funding models and ownership concentration.
对语境知识的更强侧重意味着学生必须在文本分析之外，了解发行时以及当今的制作条件、监管框架和受众接受情况。新规格为每一指定产品列出了具体的语境领域，包括历史背景、技术发展以及融资模式和所有权集中等经济因素。
For instance, studying an older television product might require understanding the public service broadcasting remit, while a newer digital text will demand awareness of the algorithmic recommendation economy. This trend rewards students who connect media products to the wider world, preparing them for higher-level critical thinking.
例如，研究一部较早的电视产品可能需要理解公共服务广播的使命，而较新的数字文本则要求意识到算法推荐经济。这一趋势奖励那些将媒介产品与更广阔世界联系起来的学生，为他们进行更高层次的批判性思维做好准备。
10. Skills Progression and Synoptic Assessment | 技能进阶与综贯评估
Synoptic assessment, the ability to synthesise knowledge across different areas of the specification, is now a formal requirement in Component 1 and Component 2. This means a single question might ask students to link media language with industry issues. To prepare, students should build comparative grids and concept maps early in the course, rather than treating topics in isolation.
综贯评估——即综合运用大纲各个领域知识的能力——如今是部分一和部分二的正式要求。这意味着单一的题目可能要求学生将媒介语言与产业问题联系起来。为此，学生应在课程早期就建立比较表格和概念导图，而不要孤立地学习各个主题。
Skills progression is structured into three stages: foundation (micro analysis), consolidation (application of theories to set products) and extension (critical evaluation of debates and contexts). Centres are advised to sequence their schemes of work so that NEA productions benefit directly from analytical skills developed in examined components.
技能进阶分为三个阶段：基础阶段（微观分析）、巩固阶段（将理论应用于指定产品）以及拓展阶段（对争议与语境进行批判性评价）。建议各学校有序安排教学方案，使NEA制作能够直接从笔试部分培养起来的分析技能中获益。
11. Resources, Support and Teacher Guidance | 资源、支持与教师指导
WJEC will provide a comprehensive package of resources for the new specification, including sample assessment materials, marked exemplars and a full set of Teacher Guides. The WJEC Eduqas website will host digital conferences and CPD sessions throughout 2025 and 2026. Teachers are encouraged to attend these to understand the subtle but crucial changes in mark scheme interpretation.
WJEC将为新规格提供一整套资源，包括评估材料样本、已评分的范例以及完整的教师指导手册。WJEC Eduqas网站将在整个2025年和2026年举办数字会议和持续专业发展（CPD）课程。鼓励教师参加，以理解评分方案解读中那些虽细微但至关重要的变化。
Student-friendly revision guides, online quizzes and interactive exemplar commentaries will also be released. The emphasis on digital, convergent products means learners should curate their own bank of contemporary media examples throughout the course, using platforms like Google Scholar and curated TikTok lists under teacher supervision for research.
适合学生使用的复习指南、在线测验和互动范例评注也将会发布。对于数字融合产品的强调意味着学习者应该在整个课程过程中，在教师指导下利用Google Scholar和精心策划的TikTok列表等平台进行调研，从而建立自己的当代媒介案例资源库。
12. Future Trends in Media Studies Assessment | 媒体研究评估的未来趋势
Looking beyond 2026, several trends are likely to shape the next decade of IGCSE Media. Assessment will become increasingly multimodal, potentially incorporating online submissions of audio-visual NEA work with reflective commentary. AI-generated content and issues of misinformation will become central study texts. WJEC has already signalled that future iterations could include digital portfolios assessed by external moderators using a combination of peer review and adaptive comparative judgement.
展望2026年之后，有若干趋势很可能塑造未来十年IGCSE媒体的走向。评估将变得愈发多模态，可能涵盖带有反思评注的视听NEA作品在线提交。人工智能生成的内容和虚假信息问题将成为核心学习文本。WJEC已经暗示，未来的版本可能包含数字作品集，由外部评审员结合同伴评审与适应性比较判断进行评估。
Media Studies is moving away from a print-centric view of literacy towards a dynamic, cross-platform model. As boundaries between producer and consumer blur, the examined skills will increasingly value entrepreneurship, ethical media practice and the ability to deconstruct algorithmic biases. For the 2026 cohort, mastering the current changes is the first step into this evolving landscape.
媒体研究正从以印刷为中心的素养观，转向一种充满活力的跨平台模式。随着生产者和消费者之间界限的模糊，考试所考察的技能将越来越重视创业精神、合乎道德的媒介实践以及解构算法偏见的能力。对于2026届学生而言，掌握当前的变化正是踏入这一不断演变的疆域的第一步。
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