📚 AS OCR Media Studies: High-Frequency Exam Topics and Common Mistakes | AS OCR 媒体研究：高频考点与易错题分析
Navigating the AS OCR Media Studies exam requires not only a solid grasp of theoretical frameworks but also a sharp awareness of where students often lose marks. This article synthesises the most frequently tested topics — from semiotics and representation to audience positioning and institutional regulation — while spotlighting the typical errors that separate a C-grade response from an A-grade one. By focusing on close study products (CSPs) such as music videos, advertising, video games and newspapers, we will clarify how to apply theorists like Barthes, Hall, Gauntlett, Curran & Seaton and Livingstone & Lunt with precision and depth.
应对AS OCR媒体研究考试，不仅需要扎实掌握理论框架，还需要敏锐觉察考生常在哪里丢分。本文综合了最高频的考点——从符号学和再现理论到受众定位与制度监管——并重点剖析那些把C档与A档答案拉开距离的典型错误。通过聚焦歌曲MV、广告、电子游戏和报纸等闭卷考试指定作品（CSP），我们将说明如何精准、深入地运用巴特、霍尔、冈特利特、柯伦与西顿以及利文斯通与伦特等理论家。
1. Semiotics and Barthes: Applying Denotation, Connotation and Myth | 符号学与巴特：应用外延、内涵与神话
Roland Barthes' orders of signification appear in nearly every Section A question, yet many candidates stop at simple connotation. An A-grade answer must link technical codes (camerawork, mise-en-scène) to connotation and then to cultural myth. For example, in Beyoncé's 'Formation' music video, the low-angle close-up on the police car sinking not only connotes resistance but also taps into the myth of Black female empowerment and the Southern Gothic tradition. A common mistake is to list denotation and connotation without explaining how the myth functions ideologically. Examiners reward students who explicitly state that a myth naturalises a particular worldview.
罗兰・巴特的意指层次几乎出现在每道A节题目中，但许多考生止步于简单的内涵分析。A档答案必须将技术符码（镜头、场面调度）与内涵联系起来，再上升到文化神话。例如，在碧昂丝《Formation》MV中，沉没警车的低角度特写不仅内涵反抗，还触及黑人女性赋权与美国南方哥特传统的神话。常见错误是枚举外延与内涵，却不解释神话如何以意识形态方式运作。考官青睐能明确指出神话将特定世界观自然化的考生。
Another recurrent issue is confusing symbolic signs with indexical signs. A burning building in a film poster is often indexical of destruction, but its symbolic meaning (e.g. the collapse of the American Dream) depends on context. Always justify how the signifier relates to its signified through shared cultural codes. When analysing a print advertisement like the 'Unstereotype Alliance' campaign, show how the model's direct gaze (index of direct address) combines with the slogan (symbolic code) to challenge dominant gender myths.
另一个常见问题是混淆象征符号与指示符号。电影海报中的燃烧建筑往往是毁灭的指示符号，但其象征含义（如美国梦的崩塌）取决于语境。务必根据共享文化符号，论证能指与所指的关系。当分析如“反刻板印象联盟”广告时，要展示模特直视的目光（直接指称的指示）如何与标语（象征符码）结合，挑战主流性别神话。
2. Representation Theory: Hall, Gauntlett and Butler in Practice | 再现理论：霍尔、冈特利特与巴特勒的运用
Stuart Hall's representation theory is a cornerstone of OCR Media Messages, yet students often oversimplify it. Hall argues that meaning is constructed through language and shared conceptual maps, not merely reflected. When discussing the 'This Girl Can' ad, a strong response links the active, sweaty female body to the rejection of passive, objectified stereotypes, showing how the campaign re-encodes the 'ideology of exercise' to include women of all shapes and ethnicities. A weak answer simply says 'this challenges stereotypes' without analysing whose reality is being represented and who is doing the representing.
斯图尔特・霍尔的再现理论是OCR媒体信息的基石，但学生常常将其过度简化。霍尔认为意义是通过语言和共享的概念图谱建构的，而非简单反映。讨论“This Girl Can”广告时，优秀答案会将活跃、流汗的女性身体与被动的物化刻板印象的拒斥联系起来，展示该广告如何重新编码“健身意识形态”，接纳各种体型、种族的女性。差劲的答案只是说“这打破了刻板印象”，却不分析再现了谁的现实、谁在进行再现。
David Gauntlett's identity theory is another high-frequency topic. Candidates often state that audiences pick and mix identity resources, but they neglect to show how specific media products offer these resources. In 'Tomb Raider' (2013), Lara Croft's character design offers a resource of the 'survivor' archetype rather than a hypersexualised heroine, allowing female gamers to negotiate a more rounded identity. A common mistake is to conflate Gauntlett with a simplistic 'prosumer' argument; instead, tie identity to textual features like the game's third-person perspective and narrative agency.
大卫・冈特利特的认同理论是另一高频考点。考生常提及受众“拣选混合”身份资源，却忽略展现特定媒介产品如何提供这些资源。在2013版《古墓丽影》中，劳拉的角色设计提供了“幸存者”原型而非过度性感化的女英雄，让女性玩家能够建构更立体的身份认同。常见错误是将冈特利特混同于简单的“产消者”论点；相反，应将身份认同与游戏第三人称视角、叙事能动性等文本特征联系起来。
Judith Butler's gender performativity is often misunderstood as 'gender is a choice'. In a CSP like the 'Formation' video, Beyoncé's wardrobe changes and gestural codes demonstrate that gender is a reiterative performance sustained through repeated acts. A high-mark answer shows how the video's editing rhythm creates a sense of constant transformation, destabilising fixed gender binaries. Avoid claiming that Butler denies biological sex; instead, explain how media texts contribute to the social construction of gender through repeated codes.
朱迪斯・巴特勒的性别操演性常被误解为“性别是一种选择”。像《Formation》这样的CSP，碧昂丝的服装变化和姿态符号表明性别是通过重复行为维系的反复操演。高分答案会说明视频剪辑节奏如何营造持续变形的感觉，动摇固定的性别二元。避免声称巴特勒否认生理性别，而应解释媒介文本如何通过重复符码参与性别社会建构。
3. Genre and Repetition: Avoiding Simplistic Neale Application | 类型与重复：避免对尼尔的简单化应用
Steve Neale's theory that genre relies on repetition and difference is a popular AS topic, but candidates often reduce it to 'this text has aspects of this genre and also differs'. For a Band 4-5 answer, you must specify which generic conventions are repeated (e.g., in a newspaper like 'The Daily Mail', the repeated design convention of right-wing editorial framing and the sidebar of celebrity gossip) and how differentiation occurs through online platforms (scrollable 'sidebar of shame' versus static print). A mistake is treating genre as a checklist; instead, demonstrate how repetition and difference construct audience expectations and institutional ideologies.
史蒂夫・尼尔的类型理论——类型依赖重复与差异——是AS热门话题，但考生常将其简化为“该文本既有该类型特征又有不同”。要获得4-5档分数，必须明确指出重复了哪些类型惯例（如《每日邮报》报纸中右翼编辑框架与名人八卦侧边栏的重复设计惯例），以及如何通过在线平台实现差异化（可滚动的“耻辱侧边栏”与静态印刷）。错误是将类型当成清单式核对；应展示重复与差异如何构建受众期待与制度意识形态。
When analysing video games, connect genre to interactivty. 'Tomb Raider' repeats the action-adventure convention of a lone protagonist solving puzzles, but differentiates through a vulnerable Lara, subverting the invulnerable hero trope. Discuss how the game's hybridity — mixing survival, platform and narrative genres — shapes audience engagement. Many students forget to mention the role of marketing in establishing genre; the cover art and trailers prime audience expectations before the text is consumed.
分析电子游戏时，要将类型与互动性联系起来。《古墓丽影》重复了孤胆主角解谜的动作冒险惯例，但通过脆弱的劳拉形成差异，颠覆了坚不可摧的英雄套路。讨论该游戏的混杂性——混合生存、平台跳跃和叙事类型——如何塑造受众参与。许多学生忘记提及营销在建立类型中的作用；封面美术和预告片在文本被消费前就预设了受众期待。
4. Media Industries: Curran & Seaton, Regulation Case Studies | 媒体产业：柯伦与西顿、监管案例
Curran and Seaton's arguments about media concentration and the public interest are essential for any question on industry, yet learners often misapply them. The theory is not just about ownership; it argues that conglomerate dominance limits diversity and innovation. When discussing the video game industry, contrast the major publisher Square Enix's control over 'Tomb Raider' with independent developers' use of crowdfunding. Common errors include using outdated statistics and failing to link the theory to the specific set product. For 'The Daily Mail', show how DMG Media's cross-platform ownership (print, online, MailOnline) allows synergy but homogenises content, supporting Curran & Seaton's concerns.
柯伦和西顿关于媒体集中化与公共利益的论述对于任何产业题目都至关重要，但学习者常误用。该理论不只关乎所有权，而是论证大集团的统治限制了多样性与创新。讨论电子游戏产业时，要对比主要发行商史克威尔艾尼克斯对《古墓丽影》的控制与独立开发者对众筹的运用。常见错误包括使用过时数据，以及未能将该理论与特定CSP联系起来。对于《每日邮报》，要展示DMG传媒的跨平台所有权（印刷、在线、MailOnline）如何实现协同效应却使内容同质化，印证柯伦与西顿的担忧。
Regulation is another high-stakes area. Livingstone and Lunt's theory helps explore the tension between citizen protection and consumer choice. In AS, students frequently confuse the roles of IPSO and IMPRESS in press regulation. Use the case of MailOnline's user-generated content to discuss how self-regulation struggles with online harm. A pitfall is describing regulation without analysis; always evaluate efficacy by applying Livingstone & Lunt's concepts of 'public interest' and 'harm'.
监管是另一个高风险领域。利文斯通与伦特的理论有助于探讨公民保护与消费者选择之间的张力。在AS阶段，学生常混淆IPSO与IMPRESS在报业监管中的角色。以MailOnline的用户生成内容为例，讨论自我监管在网络伤害问题上的挣扎。常见陷阱是只描述监管而不分析；务必运用利文斯通与伦特的“公共利益”与“伤害”概念来评估监管效能。
5. Audience Positioning and Reception: From Preferred Reading to Fandom | 受众定位与接收：从主导阅读到粉丝社群
Stuart Hall's encoding/decoding model is a perennial favourite, but too many responses merely define dominant, negotiated and oppositional readings without applying them to a set text. When examining the 'Unstereotype Alliance' ad, a dominant reading might accept its message of inclusive empowerment, a negotiated reading might question whether a corporate campaign can dismantle structural sexism, and an oppositional reading could view it as tokenism. The mistake is treating readings as hypothetical; always anchor them in evidence from the text and real audience contexts.
斯图尔特・霍尔的编码/解码模型是长盛不衰的考点，但太多答案仅定义主导、协商与对立阅读，却不应用于指定文本。研究“反刻板印象联盟”广告时，主导阅读可能接受其包容性赋权信息，协商阅读或质疑企业运动能否拆除结构性性别歧视，对立阅读则可能视之为表面功夫。错误是把阅读当作假设；必须用文本证据和真实受众语境来锚定。
Two-step flow and opinion leaders appear in industry and audience questions. A frequent misunderstanding is equating influencers solely with social media celebrities. In the context of 'The Big Issue', the street vendor functions as an opinion leader, mediating the magazine's social message. Link Katz's uses and gratifications to this by showing how the vendor relationship fulfils personal integrative needs. Also, candidates often fail to differentiate between active and passive audience models in the same essay; a sophisticated response contrasts hypodermic needle assumptions (MailOnline's clickbait headlines shaping readers) with active interpretations of audience tweets reacting to a news story.
两级传播与意见领袖出现在产业和受众题目中。常见误解是将影响者仅等同于社交媒体名人。在《大志》杂志语境下，街头贩卖者扮演意见领袖角色，传递杂志的社会信息。将卡茨的使用与满足理论与此联系起来，展示卖者关系如何满足个人整合需求。此外，考生常在同一篇文章中未能区分主动与被动受众模型；周密答案会对比皮下注射假设（MailOnline的点击诱饵标题塑造读者）与受众对新闻故事反应的推文的主动解读。
6. Narrative Theories: Todorov, Propp and Structural Errors | 叙事理论：托多罗夫、普洛普与结构性错误
Todorov's equilibrium theory is straightforward, yet students often confuse the disruption stage with the new equilibrium. In 'Formation', the disruption is not the hurricane imagery alone but the entire systemic racism depicted; the new equilibrium is the community's defiant solidarity, not a resolution of the problem. For 'Tomb Raider', the disequilibrium is the shipwreck and Yamatai's threats; the new equilibrium sees Lara accepting her identity as a survivor. A common mistake is to treat every narrative as a closed text. Many postmodern CSPs are open-ended, so acknowledge that the new equilibrium may remain ambiguous.
托多罗夫的均衡理论看似简单，但学生常混淆破坏阶段与新平衡。在《Formation》中，破坏不仅是飓风意象，而是所描绘的整个系统性种族主义；新平衡是社区的抵抗性团结，而非问题的解决。对《古墓丽影》，失衡是海难与邪马台的威胁；新平衡是劳拉接受自己的幸存者身份。常见错误是把每个叙事都当作封闭文本。许多后现代CSP是开放式的，因此要承认新平衡可能依然模糊。
Propp's character archetypes are tempting but must be used cautiously with contemporary media. Applying Propp to an advertising campaign like 'This Girl Can' can be problematic because the ad lacks a traditional villain. A low-band response forces the model, labeling the 'inner critic' as the villain, which is not a character but an abstract concept. Better to discuss how the campaign subverts fairy-tale archetypes (the 'princess' needing rescue) to position the woman as her own hero, donor and dispatcher, thereby modernizing narrative roles.
普洛普的角色原型虽诱人，但应用于当代媒体需谨慎。将普洛普用于“This Girl Can”这类广告会出问题，因为广告缺乏传统反派。低分答案会强行套用模型，把“内在批评声”标为反派，但那不是角色而是抽象概念。更好的做法是讨论该广告如何颠覆童话原型（需要拯救的“公主”），将女性定位为自己的英雄、给予者和派遣者，从而实现叙事角色的现代化。
7. Newspaper Analysis: Conventions, Online Shift and Hard vs Soft News | 报纸分析：惯例、网络转型与硬新闻vs软新闻
OCR AS frequently examines the front page of 'The Daily Mail' and its online counterpart. High-frequency mistakes include describing conventions without linking them to ideology. The masthead's 'Daily' implies reliability and tradition, yet combined with the right-wing editorial stance, it constructs a conservative British identity. When comparing print and online, don't just list features like hyperlinks and comment sections; analyse how these alter the news agenda and reader interaction. For instance, MailOnline's prioritisation of 'Femail' and celebrity gossip (soft news) contrasts with the print edition's focus on politics, enabling the brand to capture two distinct audiences.
OCR AS常考《每日邮报》头版及其网络版。高频错误包括描述惯例却不联系意识形态。报头的“每日”暗示可靠与传统，但结合右翼编辑立场，就构建出保守的英国身份。比较印刷与网络时，不要仅列举超链接和评论区等特征；要分析这些如何改变新闻议程和读者互动。例如，MailOnline优先呈现“女性版”和名人八卦（软新闻），与印刷版聚焦政治形成对比，使该报能俘获两类不同受众。
News values and gatekeeping are often misapplied. Students forget to link Galtung & Ruge's news values to audience targeting. A story about immigration may be selected for its 'negativity' and 'proximity' to serve a readership that feels threatened by globalisation. Discuss how algorithm-driven personalisation online challenges traditional gatekeeping, creating filter bubbles. A rich answer might reference the digital news aggregator model and the decline of the 'shared public sphere' theorised by Habermas.
新闻价值与把关常被误用。学生忘记将加尔顿与鲁格的新闻价值与受众定位联系。一篇移民报道可能因“负面性”和“接近性”而被选中，以服务感到全球化威胁的读者群。讨论算法驱动的在线个性化如何挑战传统把关，制造过滤气泡。充实的答案会提及数字新闻聚合模式及哈贝马斯所述“共享公共领域”的衰落。
8. Advertising and Marketing: Decoding the Campaigns | 广告与营销：解码宣传活动
Set advertising CSPs like 'This Girl Can' and the 'Unstereotype Alliance' require careful analysis of visual and persuasive codes. A typical error is to discuss representation without considering the institutional context. 'This Girl Can' was launched by Sport England, a public body, to address the gender gap in exercise; its funding source shapes the message differently from a commercial Nike ad. Always note the difference between public service and commercial advertising motivations when evaluating representations.
“This Girl Can”和“反刻板印象联盟”等广告CSP需要仔细分析视觉和说服符码。典型错误是只讨论再现而不考虑制度语境。“This Girl Can”由公共机构英格兰体育委员会发起，旨在解决运动中的性别差距；其资金来源使讯息与耐克商业广告截然不同。评估再现时，务必注意公共服务与商业广告动机的差异。
Psychographic targeting and Maslow's hierarchy are frequently misused. Instead of simply stating 'this ad appeals to esteem needs', explain how the ad's copy and typography construct a specific value group. The approachable, imperfect fonts and raw photography in 'This Girl Can' target 'reformers' and 'strugglers' who value authenticity, rejecting aspirational perfection. A common mistake is confusing psychographics with demographics; age and gender are less relevant here than values and lifestyles.
心理细分与马斯洛需求层次常被误用。与其简单说“该广告吸引尊重需求”，不如解释广告文案和版面设计如何构建特定价值群体。“This Girl Can”中使用亲切、不完美的字体和真实摄影，瞄准重视真实、拒绝完美志向的“革新者”与“挣扎者”。常见错误是将心理特征与人口统计混淆；这里年龄与性别远不如价值观和生活方式相关。
9. Video Games as an Evolving Medium: Industry and Audience | 电子游戏作为演进中的媒介：产业与受众
'Tomb Raider' (2013) is a staple AS text, yet candidates often write about either industry or audience in isolation. The spec demands integrated understanding. Show how Square Enix's decision to reboot Lara Croft as a more realistic, vulnerable character was driven by both audience feedback (demand for less objectification) and industrial need to revive the franchise. Discuss the role of technological convergence: the game released across multiple platforms; its promotion through trailers and social media campaigns exemplifies synergy. An error is treating the video game industry as identical to film; its interactive nature creates unique audience dynamics such as flow and immersion (Csikszentmihalyi).
《古墓丽影》（2013）是AS基础文本，但考生常孤立地写产业或受众。大纲要求整合理解。展示史克威尔艾尼克斯决定将劳拉重塑为更真实、脆弱的角色，既出于受众反馈（对减少物化的需求），也出于振兴系列的产业需要。讨论技术融合的作用：游戏跨平台发行；其通过预告片和社交媒体活动的推广体现了协同效应。错误是将电子游戏产业等同于电影产业；其互动性创造出独特的受众动态，如心流与沉浸（契克森米哈伊）。
When discussing regulation, don't forget the PEGI system and how it differs from BBFC film ratings. Explain that PEGI ratings focus on content descriptors and age suitability, but also note the debates around loot boxes and gambling-like mechanics. A fault is mentioning regulation without linking it to the CSP; discuss whether 'Tomb Raider's' 18 rating (PEGI) actually influences player demographics or if parents mediate access.
讨论监管时，不要忘记PEGI系统及其与BBFC电影分级的区别。解释PEGI分级聚焦内容描述符与适龄性，但也要注意战利品箱与类赌博机制的争论。错误是提到监管却不联系CSP；讨论《古墓丽影》的PEGI 18分级是否真的影响玩家人口分布，或父母是否中介了接触。
10. Music Video: Codes, Contexts and Postmodernism | 音乐视频：符码、语境与后现代主义
Beyoncé's 'Formation' is a rich text for AS, requiring knowledge of intertextuality and historical context. Candidates often describe the Hurricane Katrina imagery but fail to connect it to the legacy of systemic racism and the Black Lives Matter movement. A grade-A response weaves contextual analysis into every paragraph, showing how the video critiques the American South's racial history through costume (antebellum-style dresses) and location (plantation houses). One mistake is to claim that the video is solely about female empowerment; it is intersectional, addressing race, gender and class simultaneously.
碧昂丝的《Formation》对AS来说是个丰富文本，需要互文性知识和历史语境。考生常描述卡特里娜飓风的意象，却未能将其与系统性种族主义的遗留问题和“黑人的命也是命”运动联系起来。A级答案将语境分析编织进每个段落，展示MV如何通过服装（南北战争前风格长裙）和取景（种植园宅邸）批判美国南方的种族历史。一个错误是声称该视频只关于女性赋权；它是交叉性的，同时处理了种族、性别和阶级问题。
Andrew Goodwin's music video codes are vital. Illustrate how the relationship between lyrics and visuals is not simply illustrative but amplifies meaning. The line 'I like my baby hair with baby hair and afros' matched with images of natural Black hair directly addresses the politics of respectability. Use 'Riptide' by Vance Joy to discuss disjuncture and intertextual references to surrealist cinema. The mistake is treating music videos as standalone texts without considering how they are consumed on platforms like YouTube, where comments and remixes form paratexts.
安德鲁・古德温的音乐视频符码至关重要。说明歌词与视觉之间的关系不是简单图解，而是放大意义。歌词“我喜欢我宝贝的卷发和非洲发”配合自然黑发的画面，直接触及体面政治。用Vance Joy的《Riptide》讨论断裂性和对超现实主义电影的互文参考。错误是将音乐视频视为孤立文本，无视其在YouTube等平台被消费的方式——评论与混音形成副文本。
11. Contextual Embedding: Historical, Social and Cultural Dimensions | 语境融入：历史、社会与文化维度
A persistent weakness in AS answers is the 'bolt-on' context paragraph. Context must be integrated into analysis. When evaluating 'The Big Issue', don't save the context of homelessness and social enterprise for the conclusion; use it to explain the magazine's editorial choices, such as the positive, dignified representations of vendors. Show how the context of funding cuts and austerity in the UK shapes both the production and reception of the text. Similarly, for the video game 'Tomb Raider', link the representation of Lara to post-2010 fourth-wave feminism and the #MeToo conversation, rather than just mentioning it in passing.
AS答案中一个持续弱点是“粘贴式”语境段落。语境必须融入分析。评价《大志》杂志时，不要把无家可归与社会企业的语境留到结论；用它来解释杂志的编辑选择，比如对贩卖者积极、有尊严的再现。展示英国财政紧缩与削减开支的语境如何塑造文本的生产与接收。同样，对于《古墓丽影》，将劳拉的再现与2010年后第四波女权主义和#MeToo对话联系起来，而非一笔带过。
Historical contexts require precise dates and events. When analysing 'Formation', reference the 2005 Hurricane Katrina and the 1927 Great Mississippi Flood, both of which disproportionately affected Black communities. Avoid vague statements like 'it criticises racism in the past'; specify which historical moments are referenced visually or lyrically. This specificity demonstrates synoptic understanding.
历史语境需要精确日期和事件。分析《Formation》时，提及2005年卡特里娜飓风和1927年密西西比大洪水，这两者都对黑人社区造成了不成比例的影响。避免“它批判了过去的种族主义”这类模糊表述；指出视觉或歌词上引用了哪些具体历史时刻。这种精确性展示了对全局的综合理解。
12. Common Pitfalls in Essay Structuring and Terminology | 文章结构与术语的常见陷阱
Even when content is strong, poor organisation can cap marks. A frequent mistake is list-like paragraphs that describe a theory, then a text, without synthesis. Instead, use a PEELE (Point, Evidence, Explanation, Link, Evaluate) structure, but ensure the link connects back to the question and the evaluation weighs the theory's usefulness. Avoid simply naming theorists without explaining their ideas; writing 'according to Curran and Seaton, media concentration is bad' is too superficial. State their argument about how conglomerates limit diversity, then apply it with named examples.
即使内容有力，结构糟糕也会限制分数。常见错误是清单式段落，描述一个理论，再描述文本，缺乏综合。相反，使用PEELE结构（观点、证据、解释、联系、评价），但确保联系回扣题目，评价部分权衡理论的效用。避免只点理论家名字而不解释其思想；写“根据柯伦和西顿，媒体集中化是不好的”太过肤浅。说出他们关于大集团如何限制多样性的论点，再用实例应用。
Terminology errors are costly. Distinguish between 'connotation' and 'denotation', 'media language' and 'representation', 'viewpoint' and 'perspective'. Use subject-specific vocabulary such as 'interpellation' (Althusser), 'hegemony' (Gramsci) and 'polysemy' accurately. A prevalent error is confusing the shot type 'low angle' with 'point of view'; a low angle shows power, while POV places the audience in the character's position. Proofread to avoid such slip-ups under time pressure.
术语错误代价高昂。区分“内涵”与“外延”、“媒体语言”与“再现”、“观点”与“视角（视点）”。精确使用学科词汇，如“召唤”（阿尔都塞）、“霸权”（葛兰西）、“多义性”。普遍错误是将镜头类型“低角度”与“主观视角”混淆；低角度展现权力，而主观视角将观众置于角色位置。在时间压力下务必检查，避免这类失误。
Published by TutorHao | Media Studies 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