📚 Pre-U CIE Media Studies: 2026 Exam Changes and Trends | Pre-U CIE 媒体：2026年考试变化与趋势
For students preparing for the Cambridge International A Level Media Studies (9607) – often referred to as Pre-U CIE Media – the 2026 examination series marks the final year of the current syllabus (2024–2026). Understanding the updated structure, assessment objectives, and emerging trends in media is essential for achieving top marks. This article unpacks the key changes introduced in the 2024–2026 syllabus and explores the directions CIE is taking as media landscapes evolve, covering everything from revised exam papers to the growing emphasis on digital convergence and globalised audiences.
对于正在准备剑桥国际 A Level 媒体研究 (9607) – 常被称作 Pre-U CIE 媒体 – 的学生来说，2026 年考试是现行大纲 (2024–2026) 的最后一年。掌握更新后的考试结构、评估目标以及媒体领域的新兴趋势，是取得高分的关键。本文解析了 2024–2026 大纲引入的主要变化，并探讨了随着媒体格局演变，CIE 在考试方向上所呈现的趋势，涵盖从试卷修订到对数字融合和全球化受众日益重视的方方面面。
1. Cambridge International Media Studies at a Glance | 剑桥国际媒体研究概览
Cambridge International A Level Media Studies (9607) is a two-year linear qualification that encourages critical engagement with a wide range of media forms, including television, film, music video, advertising, newspapers, magazines, online, social and participatory media, video games, and radio. The qualification places heavy emphasis on the theoretical framework of media language, representation, media industries, and audiences. In the 2024–2026 syllabus, these key concepts remain central but have been refined to reflect contemporary shifts in media production and consumption.
剑桥国际 A Level 媒体研究 (9607) 是一个两年制的线性资格证书，鼓励学生对广泛媒体形式进行批判性探究，包括电视、电影、音乐视频、广告、报纸、杂志、网络、社交媒体与参与式媒体、电子游戏和广播。该课程高度重视媒体语言、再现、媒体产业和受众这些理论框架。在 2024–2026 大纲中，这些核心概念依然占据中心地位，并经过精炼以反映当代媒体生产和消费的变迁。
2. Why 2026 Matters: The Last Sitting of the Current Syllabus | 2026 年为何重要：现行大纲的最后一场考试
CIE operates on a three-year syllabus cycle. The 9607 syllabus for examination in 2024, 2025 and 2026 was published in 2023, incorporating substantial updates. For many learners, the 2026 summer session will be their final opportunity to sit this version of the qualification before a new specification is introduced. This makes it crucial to work closely with the latest syllabus document, specimen papers and examiner reports, as no further resits under these rules will be available after 2026.
CIE 采用三年一个大纲周期。适用于 2024、2025 和 2026 年考试的 9607 大纲于 2023 年发布，包含了重大更新。对许多学生而言，2026 年夏季考季将是他们在新规格推出前参加这一版本资格考试的最后机会。因此，紧密结合最新大纲文件、样卷和考官报告至关重要，因为 2026 年后将不再提供基于这些规则的补考机会。
3. Syllabus Structure: Components and Weighting | 大纲结构：组成部分与权重
The A Level comprises three components. Component 1 (Paper 1 – Media Texts, Contexts and Representations) is a written exam worth 40% of the total marks, focusing on the analysis of media texts and their cultural contexts. Component 2 (Paper 2 – Media Production and Digital Convergence) is a written exam worth 30%, investigating production processes, industry dynamics and digital convergence. Component 3 (Coursework – Creating a Cross-Media Production) is internally assessed and externally moderated, carrying 30%. The 2026 series sees no change to this overall weighting, but the internal composition of each paper has been adjusted.
A Level 包含三个部分。第一部分（试卷一 – 媒体文本、情境与再现）为笔试，占总分 40%，重点考察媒体文本及其文化语境的分析。第二部分（试卷二 – 媒体制作与数字融合）为笔试，占 30%，探讨制作流程、产业动态和数字融合。第三部分（课程作业 – 跨媒体创作）由校内评估、外部审核，占 30%。2026 年考试的总权重不变，但每份试卷的内部构成有所调整。
4. Paper 1 Changes: Deeper Focus on Contexts and Audiences | 试卷一变化：更深入聚焦情境与受众
In the 2024–2026 syllabus, Paper 1 has been restructured to include three compulsory sections instead of a mix of compulsory and optional questions. Section A now requires close analysis of an unseen media text, applying all four key concepts (language, representation, industries, audiences). Section B asks candidates to compare two set texts from different media forms, requiring a detailed discussion of how contexts shape meaning. Section C remains an essay on a set topic area but now explicitly demands references to audience theories and reception models. This change rewards students who can fluidly connect textual analysis with theoretical perspectives.
在 2024–2026 大纲中，试卷一进行了重组，包含三个必答题部分，而非以前的必答加选答题组合。A 部分现在要求对一则未见媒体文本进行细致分析，需运用全部四个关键概念（语言、再现、产业、受众）。B 部分要求考生比较两个不同媒体形式的指定文本，详细论述情境如何塑造意义。C 部分仍为一篇基于指定主题领域的论文，但现在明确要求引用受众理论和接受模型。这一变化让能够流畅连接文本分析与理论视角的学生更易脱颖而出。
5. Paper 2 Refinements: Digital Convergence and Production Processes | 试卷二的精进：数字融合与制作流程
Paper 2 has undergone significant modernization. Previously titled 'Media Production Processes', its new focus reflects the accelerating reality of digital convergence. Section A consists of two compulsory questions based on a set media industry or production context released in advance (pre-release material). Section B requires an extended essay evaluating how digital technologies have transformed production, distribution and audience engagement. CIE has signalled that topics like platformisation, algorithmic culture and user-generated content will feature more prominently in 2025 and 2026, making the 2026 exam particularly likely to test these contemporary areas.
试卷二经历了重大的现代化改造。此前标题为“媒体制作流程”，其新焦点反映了数字融合加速发生的现实。A 部分包含两道基于提前发布的某个媒体产业或制作情境（预发材料）的必答题。B 部分要求撰写一篇扩展性论文，评估数字技术如何改变了制作、分发和受众参与。CIE 已发出信号，平台化、算法文化和用户生成内容等议题将在 2025 和 2026 年考试中更突出地出现，这使得 2026 年考试尤为可能考查这些前沿领域。
6. Coursework Component: Cross-Media Production Requirements | 课程作业部分：跨媒体制作要求
Component 3 remains a cross-media production, but the 2024–2026 syllabus has tightened the rules around the relationship between the two linked products. Candidates must now demonstrate a clear and purposeful link in branding, narrative or thematic content across platforms. The reflective commentary (1,500–1,800 words) has been updated to require explicit evaluation of professional media practices and institutional contexts, not just personal creative choices. Additionally, the permitted media forms for coursework now explicitly include social media campaigns, podcasts, and interactive webdocs, reflecting industry trends.
第三部分仍然是跨媒体制作，但 2024–2026 大纲收紧了两个关联作品之间关系的规则。考生现在必须跨平台展示品牌、叙事或主题内容的清晰且有目的性的连接。反思性评注（1500–1800 字）已更新，要求明确评估专业媒体实践和机构情境，而不仅仅是个人创作选择。此外，课程作业许可的媒体形式现在明确包括社交媒体宣传活动、播客和互动式网络纪录片，反映出产业趋势。
7. Key Concepts Revision: Theories and Thinkers Updated | 关键概念修订：理论与思想家更新
The theoretical framework has been refreshed. For media language, Barthes' semiotics and Todorov's narratology remain, but the syllabus now adds Gauntlett's ideas on identity and fluidity. In representation, hooks' intersectionality gains equal standing with Hall's stereotype theory, while Butler's performativity is introduced. For media industries, Curran and Seaton remain core, but Hesmondhalgh's cultural industries framework has been incorporated more explicitly. In audiences, Blumler and Katz's uses and gratifications is joined by Shirky's 'cognitive surplus' and Jenkins' participatory culture – signalling a clear turn towards digital-era audience agency.
理论框架得到了更新。在媒体语言方面，巴特的符号学和托多罗夫的叙事学仍然保留，但大纲现在新增了冈特利特关于身份与流动性的观点。在再现方面，胡克斯的交叉性与霍尔的刻板印象理论并重，同时引入了巴特勒的操演性。在媒体产业方面，柯兰和西顿仍是核心，但赫斯蒙德哈尔什的文化产业框架被更明确地纳入。在受众方面，布鲁姆勒和卡茨的使用与满足理论加入了舍基的“认知盈余”和詹金斯的参与式文化 – 标志着向数字时代受众能动性的明确转向。
8. Media Forms and Set Products: New Texts for 2026 | 媒体形式与指定产品：2026 年新文本
The set products list has been rotated. For 2026, CIE has confirmed new case studies across several media forms. Television drama now includes a contemporary streaming series, reflecting the rise of platform-native content. The music video section features an artist whose work heavily relies on TikTok distribution and fan remix culture. Newspapers and magazines maintain a mix of legacy and digital-first publications. Video games now focus on a live-service title with evolving narrative updates. These choices signal the exam board's intent to keep pace with how young audiences actually consume media today.
指定产品列表已经轮换。对于 2026 年，CIE 已确认在多个媒体形式中采用新案例。电视剧现在包含一部当代流媒体剧集，反映了平台原生内容的崛起。音乐视频部分聚焦一位作品严重依赖 TikTok 分发和粉丝混音文化的艺术家。报纸和杂志保持传统与数字优先出版物的混合。电子游戏则关注一款持续在线服务并不断更新叙事的作品。这些选择表明考试局意图紧跟当代年轻受众实际消费媒体的方式。
9. Assessment Objective Shifts: AO2 and AO3 in the Spotlight | 评估目标转移：AO2 与 AO3 成为焦点
CIE's four Assessment Objectives remain: AO1 (knowledge and understanding), AO2 (application of knowledge and analysis), AO3 (production skills – coursework only), and AO4 (evaluation). However, the mark allocations across papers have shifted to give more weight to AO2, rewarding depth of analysis over simple recall. In Paper 1, AO2 now accounts for 60% of marks (up from 50%). In Paper 2, AO4 (evaluation of production processes and digital convergence) has been increased to 35%. This means candidates in 2026 must prioritize analytical depth and evaluative reasoning.
CIE 的四项评估目标保持不变：AO1（知识与理解），AO2（知识应用与分析），AO3（制作技能 – 仅限课程作业）和 AO4（评价）。然而，各试卷的分数分配已发生转移，给予 AO2 更多权重，奖励分析的深度而非简单记忆。在试卷一中，AO2 现占总分的 60%（原为 50%）。在试卷二中，AO4（对制作流程和数字融合的评价）提高至 35%。这意味着 2026 年的考生必须优先注重分析深度与评价性推理。
10. The Rise of Global and Transcultural Perspectives | 全球与跨文化视角的兴起
The updated syllabus places greater emphasis on global media flows and transcultural audiences. Questions now frequently require consideration of non-Western media texts and production contexts, such as Nollywood film industries, K-pop's global distribution networks, or mobile-first journalism in Africa. The 2026 exams are expected to deepen this direction, with likely prompts asking candidates to discuss how globalisation challenges traditional models of national media. This trend rewards students who go beyond Anglosphere examples and build a genuinely international case study portfolio.
更新后的大纲更加强调全球媒体流动和跨文化受众。试题现在经常要求考虑非西方媒体文本和制作情境，例如诺莱坞电影产业、韩流的全球分发网络，或非洲的移动优先新闻模式。预计 2026 年考试将进一步深化这一方向，很可能出现要求考生讨论全球化如何挑战传统民族媒体模型的题目。这一趋势对那些能够超越英语圈案例并建立真正国际化案例组合的学生有利。
11. Digital Convergence and Platform Studies as a Unifying Theme | 数字融合与平台研究作为统一主题
Digital convergence has evolved from a single topic into a unifying theme across the entire syllabus. In the 2026 landscape, students must understand how legacy media have adapted to multi-platform environments, how algorithms shape content discovery, and how datafication transforms the audience commodity. This is tested in all three components: textual analysis of websites and apps in Paper 1, industry transformation in Paper 2, and practical cross-platform creation in coursework. CIE examiners have praised responses that treat convergence not as a standalone phenomenon but as the everyday reality of contemporary media.
数字融合已经从单一主题演变为贯穿整个大纲的统一脉络。在 2026 年的考试格局中，学生必须理解传统媒体如何适应多平台环境，算法如何影响内容发现，以及数据化如何转变受众商品。这一主题在全部三个部分中均会考察：试卷一中对网站与应用程式的文本分析，试卷二中的产业转型，以及课程作业中的跨平台创作实践。CIE 考官高度赞赏那些不将融合视为孤立现象，而是视为当代媒体日常现实来处理的回答。
12. Preparing Strategically for the 2026 Exam | 针对 2026 年考试的策略性准备
To excel in 2026, students should align their revision with the new emphasis on analytical writing, contemporary theories, and global contexts. Create a personal media diary tracking current platform developments; revise set texts alongside their institutional and audience data; practice timed essays that weave together language, representation, industry and audience analysis; and develop a coursework production that demonstrates genuine cross-platform cohesion. Engaging with examiner reports from the 2024 and 2025 series will also reveal exactly how new mark schemes are being applied, giving 2026 candidates a practical edge.
要在 2026 年脱颖而出，学生应将复习与对分析性写作、当代理论及全球语境的新侧重对齐。创建个人媒体日记来追踪最新平台发展；结合机构与受众数据复习指定文本；练习限时论文，将语言、再现、产业与受众分析融会贯通；并制作能够展示真正跨平台凝聚力的课程作业。仔细研读 2024 和 2025 年考季的考官报告，也将清晰揭示新评分方案的具体应用方式，为 2026 年考生提供实用优势。
Published by TutorHao | Media Studies Revision Series | aleveler.com
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