📚 A-Level Eduqas Media Studies: Complete Specification Guide | A-Level Eduqas 媒体研究：课程大纲全面解析
Are you preparing for the A-Level Eduqas Media Studies qualification? This comprehensive guide breaks down the entire specification, from the three assessed components to the theoretical frameworks, set products, and assessment objectives. Whether you are a student beginning your course or a teacher designing a scheme of work, you will find clear explanations and bilingual support to master every section.
你正在准备 A-Level Eduqas 媒体研究考试吗？本篇全面指南将拆解整个课程大纲，涵盖三个评估组成部分、理论框架、指定产品以及评估目标。无论你是刚开始这门课的学生，还是正在制定教学计划的老师，这里清晰的中英双语解析将帮助你掌握每一个部分。
1. Introduction to Eduqas A-Level Media Studies | Eduqas A-Level 媒体研究简介
The Eduqas A-Level Media Studies course encourages learners to explore the role of media in society through both critical analysis and creative production. The specification is designed to develop understanding of key media concepts, theories, and contexts, using a wide range of media forms including advertising, film, television, music video, video games, newspapers, magazines, online media, and radio.
Eduqas A-Level 媒体研究课程鼓励学习者通过批判性分析和创意制作来探索媒体在社会中的作用。该大纲通过广告、电影、电视、音乐视频、电子游戏、报纸、杂志、在线媒体和广播等丰富的媒体形式，培养对关键媒体概念、理论和语境的理解。
The qualification is linear, with all examinations taken at the end of the two-year course. It consists of three components: two written examinations (Component 1 and Component 2) and a non-exam assessment (Component 3) which is a cross-media production.
该资格为线性结构，所有考试在两年课程结束时进行。课程包含三个组成部分：两场笔试（Component 1 和 Component 2）以及一项非考试评估（Component 3），即跨媒体制作。
One distinctive feature of Eduqas is its set product list, which is updated periodically. Students study specific media texts from a range of historical periods and target audiences, enabling detailed comparison and application of theories.
Eduqas 的一大特色是其定期更新的指定产品清单。学生需要学习来自不同历史时期和目标受众的特定媒体文本，从而进行详细的比较和理论应用。
2. Component 1: Media Products, Industries and Audiences | 组成部分一：媒体产品、产业与受众
Component 1 is a written examination lasting 1 hour 30 minutes and is worth 30% of the total qualification. It focuses on the analysis of media language and representation in relation to two of the four media forms studied: advertising and marketing, newspapers, music video, and radio. The exam also assesses understanding of media industries and audiences.
组成部分一为1小时30分钟的笔试，占总成绩的30%。它侧重于分析两种媒体形式中的媒体语言和表征，这四种媒体形式为：广告与营销、报纸、音乐视频和广播。考试同时评估对媒体产业和受众的理解。
The paper is divided into two sections. Section A explores media language and representation through unseen and set products. Students must analyse an unseen print or moving image extract and then compare it with a set product from the same form, applying relevant theoretical approaches.
试卷分为两部分。A部分通过未见过的和指定的产品考查媒体语言和表征。学生需要分析一段未见过的印刷或动态影像片段，然后将其与同形式的指定产品比较，并应用相关理论方法。
Section B focuses on media industries and audiences. Questions draw on set products from advertising, film, newspapers, or radio, and require students to discuss how production, distribution, and circulation processes shape media texts, as well as how audiences are targeted, reached, and interpret meaning.
B部分聚焦媒体产业和受众。题目基于广告、电影、报纸或广播的指定产品，要求学生讨论制作、发行和流通过程如何塑造媒体文本，以及受众如何被锁定、触达并解读意义。
Key theorists examined in this component often include Barthes, Todorov, Neale, Levi-Strauss, Hall, Curran and Seaton, Shirky, and Livingstone and Lunt. Students need to apply these theories with precision to both unseen and set texts.
该部分常考的关键理论家包括巴特、托多罗夫、尼尔、列维-斯特劳斯、霍尔、柯兰和西顿、舍基、以及利文斯通和伦特。学生需要将这些理论准确地应用于未见过的和指定的文本。
3. Component 2: Media Forms and Products in Depth | 组成部分二：深入探究媒体形式与产品
Component 2 is a 2-hour written examination worth 40% of the total A-Level. It covers three in-depth studies: Television in the Global Age, Magazines: Mainstream and Alternative Media, and Online Media. Each section demands extended essay responses that draw on all areas of the theoretical framework.
组成部分二为2小时笔试，占总成绩的40%。它包含三个深度研究领域：全球化时代的电视、杂志：主流与另类媒体，以及在线媒体。每个部分都要求撰写长篇论文式答案，综合运用理论框架的所有方面。
The television section requires analysis of two complete programmes from contrasting contexts. For example, crime dramas from different eras or countries, such as 'Life on Mars' (UK, 2006) and 'The Bridge' (Sweden/Denmark, 2011). Students examine narrative, genre, representation, and the impact of industrial and cultural contexts on meaning.
电视部分要求分析两部来自不同背景的完整节目。例如，不同时代或国家的犯罪剧，如《火星生活》（英国，2006年）和《桥》（瑞典/丹麦，2011年）。学生考察叙事、类型、表征，以及产业和文化语境对意义的影响。
In the magazine section, students study two contrasting magazines: one mainstream, like 'Woman’s Realm' or 'Grazia', and one alternative, such as 'The Big Issue' or a small-scale feminist zine. The focus is on how media language and representation construct identity, ideology, and audience relationships.
在杂志部分，学生学习两本风格迥异的杂志：一本主流杂志，如《Woman’s Realm》或《Grazia》，以及一本另类杂志，如《The Big Issue》或小规模女权主义杂志。重点在于媒体语言和表征如何建构身份、意识形态和受众关系。
The online media section centres on a contemporary news website, such as 'The Guardian' or 'MailOnline', exploring how digital convergence, participatory culture, and algorithmic gatekeeping reshape news production and audience engagement. Students link these to theories by Hesmondhalgh, Jenkins, and van Dijk.
在线媒体部分围绕一个当代新闻网站，如《卫报》或《每日邮报》网站，探讨数字融合、参与式文化和算法把关如何重塑新闻生产和受众互动。学生将这些与赫斯蒙德霍、詹金斯和范迪克的理论连接。
4. Component 3: Cross-Media Production (NEA) | 组成部分三：跨媒体制作（非考试评估）
Component 3 is the non-exam assessment (NEA), internally assessed and externally moderated, worth 30% of the qualification. It is a practical production unit where students create an original cross-media product in response to a brief set by Eduqas.
组成部分三是非考试评估（NEA），由校内评分并接受外部审核，占总成绩的30%。这是一个实践制作单元，学生需根据Eduqas设定的任务简报创作原创跨媒体产品。
The production briefs are released annually and offer a choice of topics across different media forms. A student might, for example, create a television sequence and a related magazine article, or a music video and accompanying online content. The work must demonstrate coherent branding and cross-platform convergence.
制作任务简报每年发布，提供不同媒体形式的选题。例如，学生可以创作一个电视片段和一篇相关的杂志文章，或者一部音乐视频及其配套的在线内容。作品必须展现一致的品牌化和跨平台融合。
Students are expected to research real media industries and audiences, plan and draft their products, and produce a final outcome using digital technology. A statement of aims explains the target audience, how the product uses or challenges conventions, and how it links to media theory.
学生需要研究真实的媒体产业和受众，规划和草拟产品，并使用数字技术完成最终成果。一份目的声明要解释目标受众、产品如何运用或挑战惯例，以及如何联系媒体理论。
The NEA is an opportunity to apply knowledge from Components 1 and 2 in a creative way. Clear evidence of research, planning, production, and evaluation is essential for high marks.
非考试评估是一个将组成部分一和二的知识创造性应用的机会。清晰的研究、规划、制作和评估证据对于获得高分至关重要。
5. Key Theoretical Frameworks | 关键理论框架
The entire Eduqas A-Level is built around four interdependent theoretical frameworks: media language, representation, media industries, and audiences. Students must be able to analyse and apply all four in every examined unit.
整个Eduqas A-Level课程围绕四个相互依存的理论框架构建：媒体语言、表征、媒体产业和受众。学生必须能够在每个考试单元中分析和应用所有四个框架。
Media language refers to the codes and conventions of different media forms – from camerawork and editing in moving image to layout and typography in print. Semiotic theories by Barthes (denotation, connotation, myth) and the narrative theories of Todorov, Propp, and Levi-Strauss are central.
媒体语言指不同媒体形式的符号和惯例——从动态影像的镜头运用和剪辑到印刷品的版面设计和字体。巴特（外延、内涵、神话）的符号学理论，以及托多罗夫、普罗普和列维-斯特劳斯的叙事理论是核心。
Representation examines how media texts portray social groups, issues, and events. Key theorists include Stuart Hall (representation, stereotyping), David Gauntlett (identity), Paul Gilroy (post-colonialism), and bell hooks (intersectionality). Students look at the construction of gender, ethnicity, age, class, and place.
表征探讨媒体文本如何描绘社会群体、议题和事件。关键理论家包括斯图尔特·霍尔（表征、刻板印象）、大卫·冈特莱特（身份认同）、保罗·吉尔罗伊（后殖民主义）和贝尔·胡克斯（交叉性）。学生审视性别、种族、年龄、阶级和地域的建构。
Media industries cover the processes of production, distribution, and circulation, and how economic, political, and regulatory factors shape media texts. Curran and Seaton's work on power and media industries, Hesmondhalgh on cultural industries, and Livingstone and Lunt on regulation are frequent exam topics.
媒体产业涵盖制作、发行和流通过程，以及经济、政治和监管因素如何塑造媒体文本。柯兰和西顿关于权力与媒体产业的论述、赫斯蒙德霍关于文化产业的论述，以及利文斯通和伦特关于监管的论述是常见考试主题。
Audiences theories have shifted from passive mass-audience models to active, participatory approaches. Blumler and Katz’s uses and gratifications, Stuart Hall’s reception theory, Henry Jenkins’ participatory culture, and Clay Shirky’s 'cognitive surplus' are all examined. You must discuss how audiences are categorised, reached, and how they consume and interpret media.
受众理论已从被动的大众受众模式转向主动的、参与式的方法。布鲁姆勒和卡茨的使用与满足理论、斯图尔特·霍尔的接受理论、亨利·詹金斯的参与式文化、克莱·舍基的“认知盈余”都是考查内容。你需要讨论受众如何被分类、触达，以及他们如何消费和解读媒体。
6. Media Language: Codes, Conventions and Narratives | 媒体语言：代码、惯例与叙事
Media language forms the foundation of all textual analysis in Eduqas Media Studies. You need to identify technical codes (lighting, editing, sound, camera), symbolic codes (objects, setting, colour, body language), and written codes (headlines, captions, choice of typeface).
媒体语言是Eduqas媒体研究所有文本分析的基础。你需要识别技术代码（灯光、剪辑、声音、镜头）、象征代码（物体、场景、颜色、肢体语言）和书面代码（标题、说明文字、字体选择）。
Narrative analysis draws on Todorov’s equilibrium theory (equilibrium – disruption – recognition – repair – new equilibrium) and Propp’s character types (hero, villain, donor, helper, princess, dispatcher). Levi-Strauss’s binary oppositions are also key, revealing how conflict between opposing values drives stories and constructs ideology.
叙事分析借助托多罗夫的平衡理论（平衡 – 打破 – 认识 – 修复 – 新平衡）和普罗普的角色分类（英雄、反派、赠予者、帮手、公主、派遣者）。列维-斯特劳斯的二元对立也很关键，揭示了相反价值观之间的冲突如何推动故事并建构意识形态。
Barthes’ semiotics offers enigma codes (mysteries that hook the audience) and action codes (events that drive the plot forward), as well as the layers of meaning: denotation (literal), connotation (associated), and myth (ideological). Applying these flexibly to both print and audiovisual products is vital.
巴特的符号学提供了谜题代码（吸引观众的悬念）和行动代码（推动情节的事件），以及意义的层次：外延（字面）、内涵（联想）和神话（意识形态）。灵活地将这些应用到印刷和视听产品中至关重要。
Genre is not static; it evolves through hybridisation and subversion. Neale’s theory of repetition and difference helps explain how media texts maintain audience interest while conforming to expected formulas. You should be able to trace generic conventions in posters, trailers, opening sequences, and magazines.
类型不是静止不变的；它通过混合和颠覆演变。尼尔的重复与差异理论帮助解释媒体文本如何在遵循预期公式的同时保持受众兴趣。你需要能够追踪海报、预告片、开场序列和杂志中的类型惯例。
7. Representation: Constructing Social and Cultural Identities | 表征：建构社会与文化认同
Representation is about the way media re-present reality, constructing versions of the world that can reinforce or challenge dominant ideologies. Stuart Hall’s work on stereotyping is central: stereotypes reduce people to a few simple, recognisable characteristics and often reflect power inequalities in society.
表征关乎媒体如何重新呈现现实，建构可能强化或挑战主流意识形态的世界版本。斯图尔特·霍尔关于刻板印象的理论至关重要：刻板印象将人简化为几个简单、易识别的特征，并常常反映社会中的权力不平等。
When studying gender, theories by Judith Butler (gender performativity) and Laura Mulvey (the male gaze) help deconstruct how media constructs masculinity and femininity. Contemporary advertising, film, and music video are full of examples where these traditional representations are both reinforced and subverted.
研究性别时，朱迪斯·巴特勒（性别操演性）和劳拉·穆尔维（男性凝视）的理论有助于解构媒体如何建构男性气质和女性气质。当代广告、电影和音乐视频中有大量例证，传统表征既被强化也被颠覆。
Ethnicity and post-colonial theory are explored through the work of Paul Gilroy, who argues that ‘the black Atlantic’ culture and its representations were shaped by colonialism and diaspora. bell hooks’ intersectional approach reminds us that race, gender, class, and other factors cannot be examined in isolation. You must apply these to set texts like magazines and television dramas.
通过保罗·吉尔罗伊的作品探讨种族和后殖民理论，他认为“黑色大西洋”文化及其表征是由殖民主义和离散经历塑造的。贝尔·胡克斯的交叉性方法提醒我们，种族、性别、阶级等因素不能孤立考察。你必须将这些应用到杂志和电视剧等指定文本中。
Age and class representations are also frequently tested. Youth subcultures are often framed as problematic, while older people may be marginalised or stereotyped as vulnerable. Class, as analysed by theorists such as Pierre Bourdieu, appears in the encoding of taste and cultural capital. You should always link representation choices to the institutional and audience contexts of the media product.
年龄和阶级的表征也常被考查。青年亚文化常被框定为问题群体，而老年人可能被边缘化或刻板化为弱势群体。皮埃尔·布迪厄等理论家分析的阶级，体现在品味和文化资本的编码中。你始终应将表征选择与媒体产品的机构和受众语境联系起来。
8. Media Industries: Production, Distribution and Power | 媒体产业：制作、发行与权力
Understanding media as an industry is crucial for Component 1 Section B and Component 2. You should be familiar with ownership models (public service, commercial, independent) and how they affect content. The Curran and Seaton theory argues that media concentration limits diversity and creativity, favouring profit over quality.
将媒体作为产业来理解对于组成部分一的B部分和组成部分二至关重要。你应熟悉所有权模式（公共服务、商业、独立）及其对内容的影响。柯兰和西顿理论认为，媒体集中度限制了多样性和创造力，重利润轻质量。
Hesmondhalgh’s cultural industries approach explains how media companies minimise risk through vertical and horizontal integration, formatting, and star power. The film industry, for instance, relies on franchises, sequels, and established stars to guarantee audiences, which often leads to repetition rather than innovation.
赫斯蒙德霍的文化产业方法解释了媒体公司如何通过纵向和横向整合、模式化和明星力量来降低风险。例如，电影产业依赖系列、续集和知名明星来保证受众，这往往导致重复而非创新。
Regulation is another key area. Livingstone and Lunt examine the tension between protecting the public and promoting freedom of expression. In the UK, Ofcom regulates television and radio, while the Independent Press Standards Organisation (IPSO) oversees newspapers and magazines. Online media presents new regulatory challenges, such as the UK’s Online Safety Act proposals.
监管是另一个关键领域。利文斯通和伦特审视了保护公众与促进言论自由之间的张力。在英国，Ofcom监管电视和广播，而独立新闻标准组织（IPSO）监督报纸和杂志。在线媒体带来了新的监管挑战，如英国《在线安全法》提案。
For each set product, you need to know the production company, distributor, funding model, and how it reached its target audience. Case studies like Disney’s 'Star Wars: The Force Awakens' (Component 1) illustrate the conglomerate synergy across films, merchandise, and theme parks, while a low-budget independent film demonstrates constraints and niche marketing.
对于每个指定产品，你需要了解制作公司、发行商、融资模式以及它如何触达目标受众。如迪士尼的《星球大战：原力觉醒》（组成部分一）这样的案例研究，展示了跨电影、商品和主题公园的集团协同效应，而低成本独立电影则展示了限制与小众营销。
9. Audiences: From Passive Consumers to Active Participants | 受众：从被动消费者到主动参与者
The audience framework requires you to move beyond simple demographic classification. Age, gender, psychographics, and the NRS social grades are starting points, but you must also consider how audiences use media for identity, entertainment, information, and social interaction (uses and gratifications).
受众框架要求你超越简单的人口统计学分类。年龄、性别、心理特征和NRS社会等级是起点，但你还必须考虑受众如何使用媒体来满足身份认同、娱乐、信息和社会互动（使用与满足理论）。
Stuart Hall’s preferred, negotiated, and oppositional readings show that meaning is not fixed – audiences interpret texts based on their social and cultural backgrounds. A newspaper front page might have a hegemonic preferred reading, but different readers can decode it in oppositional ways, especially on political issues.
斯图尔特·霍尔的偏好式、协商式和对抗式解读表明，意义不是固定的——受众根据其社会文化背景解读文本。报纸头版可能有一个霸权的偏好式解读，但不同的读者可以以对抗的方式解码，特别是在政治问题上。
Henry Jenkins’ work on fandom and participatory culture highlights how digital media audiences are no longer just consumers but also producers (prosumers). Fan fiction, remixes, and social media commentary allow audiences to reshape and extend media texts, forming active communities around shared interests.
亨利·詹金斯关于粉丝和参与式文化的研究强调，数字媒体受众不再仅仅是消费者，也是生产者（产消者）。同人小说、混音和社交媒体评论允许受众重塑和扩展媒体文本，围绕共同兴趣形成活跃社区。
Clay Shirky argues that the internet has given people the means to create and share content on a massive scale, using their cognitive surplus – the time and creative energy not consumed by passive activities. This shift challenges traditional media business models and compels institutions to foster interactivity, as seen in online newspaper comments sections and YouTube channels.
克莱·舍基认为，互联网让人们拥有了大规模创作和分享内容的手段，利用他们的认知盈余——未被被动活动消耗的时间和创造性精力。这种转变挑战了传统媒体商业模式，并迫使机构促进互动，如在线报纸评论区及YouTube频道所示。
When you write about audiences, always be specific: identify the primary and secondary target audiences, how they were addressed through marketing and the text itself, and what evidence you can find of audience response, such as social media metrics, reviews, or fan activity.
当你撰写有关受众的内容时，始终要具体：确定主要和次要目标受众，他们如何通过市场营销和文本本身被定位，以及你能找到哪些受众反应的证据，如社交媒体指标、评论或粉丝活动。
10. Set Products and Case Studies Overview | 指定产品与案例研究概览
Eduqas publishes a definitive set product list that students must study across the two years. These include: Tide print advert (1950s), WaterAid audiovisual advert, the 'Kiss of the Vampire' film poster, 'Straight Outta Compton' poster, 'The Daily Mirror' front pages, 'The Times' front pages, 'Formation' music video by Beyoncé, 'Riptide' music video by Vance Joy, 'Late Night Woman’s Hour' radio programme, 'Assassin’s Creed III: Liberation' video game, and many more.
Eduqas发布了一份确定的指定产品清单，学生需在两年内学习。这些包括：1950年代Tide印刷广告、WaterAid视听广告、“吸血鬼之吻”电影海报、“冲出康普顿”海报、《每日镜报》头版、《泰晤士报》头版、碧昂斯的《Formation》音乐视频、万斯·乔伊的《Riptide》音乐视频、《深夜女性时间》广播节目、《刺客信条III：解放》视频游戏等。
Component 2 set products are equally varied: the television dramas 'Life on Mars' and 'The Bridge', magazines 'Woman’s Realm' and 'Huck', or the news websites of 'The Guardian' and 'MailOnline'. These texts span different eras, genres, and national contexts, enabling comparative analysis of how media language and representation change over time.
组成部分二的指定产品同样多样：电视剧《火星生活》和《桥》、杂志《Woman’s Realm》和《Huck》，或《卫报》和《每日邮报》的新闻网站。这些文本跨越不同时代、类型和国家背景，使得比较分析媒体语言和表征如何随时间演变成为可能。
It is essential to know the production, circulation, and audience reception context of each set product. For example, 'Tide' reflects 1950s domestic ideology and the rise of consumer culture, while 'Formation' engages with Black Lives Matter and cultural identity, drawing on diverse digital distribution strategies.
了解每个指定产品的制作、发行和受众接收语境至关重要。例如，“Tide”反映了1950年代的家庭意识形态和消费文化的兴起，而“Formation”则涉及“黑人的命也是命”运动和文化身份，并利用多样的数字发行策略。
11. Exam Assessment Objectives and Tips | 考试评估目标与技巧
The Eduqas A-Level Media Studies exam is assessed against three Assessment Objectives (AOs). AO1 (20%) tests knowledge and understanding of the theoretical framework and media contexts. AO2 (40%) applies the framework to analyse media products, including unseen ones. AO3 (40%) requires you to create a cross-media product using appropriate codes and conventions.
Eduqas A-Level 媒体研究考试根据三个评估目标（AO）进行评分。AO1（20%）考查对理论框架和媒体语境的知识和理解。AO2（40%）要求应用框架分析媒体产品，包括未见过的产品。AO3（40%）要求你使用适当的代码和惯例创建跨媒体产品。
For the exams, time management is critical. In Component 1, allocate roughly equal time to Section A and Section B. For the unseen analysis in Section A, spend about 10 minutes annotating and planning before writing. Use accurate terminology – refer to 'high-angle shot', 'low-key lighting', 'diegetic sound', 'sans-serif font', not just 'the camera looks up' or 'dark'.
对于考试，时间管理至关重要。在组成部分一中，大致平均分配时间给A部分和B部分。对于A部分的未见材料分析，花大约10分钟做批注和规划，然后再动笔。使用准确的术语——提及“高角度镜头”、“低光照”、“剧情声”、“无衬线字体”，而不仅仅是“摄像机向上看”或“暗”。
In Component 2 essays, structure your response around the theoretical framework, addressing media language, representation, industry, and audiences in a balanced way. Always link your points to specific examples from the set products. Avoid mere description; aim for sustained analysis and evaluation, discussing how and why meanings are constructed.
在组成部分二的论文中，围绕理论框架组织你的回答，平衡地论述媒体语言、表征、产业和受众。始终将你的观点与指定产品中的具体例子联系起来。避免单纯的描述；力求持续性的分析和评估，讨论意义是如何以及为什么被建构的。
For the NEA, follow the brief meticulously and keep evidence of all planning stages. The statement of aims should explain your creative decisions using theory, and your final product should be technically competent and visually coherent. Originality and attention to real-world industry contexts impress moderators.
对于非考试评估，严格遵循任务简报，并保留所有规划阶段的证据。目的声明应运用理论解释你的创意决策，最终产品应技术达标且视觉连贯。原创性与对真实世界产业语境的关注会给审核员留下深刻印象。
12. Conclusion and Study Resources | 结语与学习资源
The Eduqas A-Level Media Studies qualification offers a rich, interconnected curriculum that balances academic theory with practical creativity. Success comes from staying organised: build a glossary of key terms, keep a folder of set product analyses, and regularly practise past-paper questions under timed conditions.
Eduqas A-Level 媒体研究资格证书提供了一个丰富且相互关联的课程，平衡了学术理论与实践创意。成功来自于保持条理：建立关键术语表，整理指定产品分析文件夹，并定期在计时条件下练习历年真题。
Learners often find it helpful to create comparison tables for set products, outlining the theoretical framework for each one. Subject-specific podcasts, YouTube channels that deconstruct media texts, and the Eduqas online portal for sample answers are excellent revision aids.
学习者常发现为指定产品创建比较表格很有帮助，在表中列出每个产品的理论框架。学科相关的播客、解构媒体文本的YouTube频道，以及Eduqas在线门户上的样题答案，都是极佳的复习辅助工具。
Remember that media is always around you – every advert, news alert, TikTok clip, or Netflix series is a potential case study. Train yourself to become a critical reader of the media landscape, and you will not only excel in the exam but also develop lifelong media literacy skills.
请记住，媒体始终围绕着你——每一个广告、新闻推送、TikTok短视频或Netflix剧集都是一个潜在的案例研究。训练自己成为媒体景观的批判性读者，你不仅会在考试中脱颖而出，还会培养终身的媒介素养技能。
Published by TutorHao | Media Studies Revision Series | aleveler.com
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