📚 Year 7 WJEC Media Studies: Key Concepts Quick Reference | 七年级 WJEC 媒体：核心概念速查手册
This handbook brings together the essential ideas and vocabulary you need for Year 7 WJEC Media Studies. Rather than formulas and theorems, media studies uses analytical frameworks – lenses through which we examine how media products are made, how they communicate meaning, and how audiences respond. Every media text, from a TikTok video to a blockbuster film, can be better understood by mastering these core concepts. Think of this as your mental toolkit for every lesson, homework task, and assessment.
本手册汇集了七年级 WJEC 媒体课程所需的核心概念和术语。与数学公式不同，媒体研究使用分析框架——我们通过这些视角来考察媒体产品如何被制作、如何传达意义以及受众如何回应。从一段 TikTok 短视频到一部好莱坞大片，每个媒体文本都可以通过掌握这些核心概念被更深入地理解。请把这份手册当成你每堂课、每次作业和测评中的思维工具箱。
1. Media Language: The Building Blocks | 媒体语言：构建模块
Media language refers to the codes and conventions that media producers use to communicate with an audience. These building blocks include visual codes such as colour, costume, and facial expressions; audio codes such as music, sound effects, and silence; and written codes such as headlines, captions, and typography. When you analyse a media text, you are essentially decoding the producer’s choices to uncover the intended meaning.
媒体语言指的是媒体制作者用来与受众交流的符码和惯例。这些构建模块包括视觉符码，如色彩、服装和面部表情；听觉符码，如音乐、音效和沉默；以及书面符码，如标题、说明文字和版式。当你分析一个媒体文本时，本质上就是在解码制作者的选择，以揭示其预期含义。
- Denotation – the literal, obvious meaning of a sign (e.g. a red rose is a flower).
- Connotation – the associated, deeper meaning (e.g. the red rose connotes love or romance).
- Cue words: ‘symbolises’, ‘suggests’, ‘implies’, ‘reinforces’.
- 明示义（Denotation） – 符号的字面、明显含义（例如，红玫瑰是一种花）。
- 隐含义（Connotation） – 相关的深层含义（例如，红玫瑰隐含爱情或浪漫）。
- 关键词汇：“象征”、“暗示”、“意味着”、“强化”。
Meaning = Denotation + Connotation
含义 = 明示义 + 隐含义
2. Camera Shots, Angles & Movement | 镜头景别、角度与运动
The way the camera frames a subject shapes our understanding and emotional response. A close-up fills the screen with a face to reveal emotion; a long shot shows the whole figure and setting to establish context. Camera angle can make a character appear powerful (low angle) or vulnerable (high angle). Movement – such as a slow zoom or a tracking shot – directs our attention and creates pace.
摄像机如何构图会影响我们的理解和情感反应。特写镜头让面孔充满屏幕，以揭示情感；远景镜头展示整个人物和场景，以建立情境。摄像机角度可以使角色显得强大（低角度）或脆弱（高角度）。镜头运动——如缓慢变焦或跟拍镜头——引导我们的注意力并创造节奏。
| Shot/Angle/Movement | Effect |
|---|---|
| Extreme close-up (ECU) | Intensifies emotion, shows detail |
| Close-up (CU) | Focuses on facial expression |
| Medium shot (MS) | Balances character and surroundings |
| Long shot (LS) | Establishes setting, shows full body |
| Low angle | Makes subject look powerful, dominant |
| High angle | Makes subject look small, weak |
| Pan / Tilt | Reveals information gradually |
| Zoom in / out | Creates intimacy or distance |
中文对照：极端特写强化情感；特写聚焦表情；中景平衡角色与环境；远景交代场景；低角度显得强大；高角度显得弱小；摇镜/俯仰镜逐渐揭示信息；推拉变焦创造亲密感或距离感。
3. Mise-en-Scène: What’s in the Frame | 场面调度：画面中的一切
Mise-en-scène is a French term meaning ‘placed in the scene’. It covers everything the camera sees: setting, props, costume, hair and make-up, lighting, colour, and the positioning of characters. Each element is chosen deliberately to create atmosphere, establish time and place, or convey character. Analysing mise-en-scène asks: what is included, what is excluded, and why?
场面调度来自法语，意为“置于场景中”。它涵盖摄像机所看到的一切：场景、道具、服装、发型与化妆、灯光、色彩以及角色的位置。每个元素都是有意选择的，以营造氛围、建立时空或传达角色特征。分析场面调度要问：包含了什么，排除了什么，为什么？
- Lighting: High-key lighting (bright, few shadows) suggests happiness or an upbeat mood; low-key lighting (contrast, deep shadows) suggests mystery or danger.
- Colour palette: Warm colours (red, orange) suggest passion or danger; cool colours (blue, grey) suggest calm or sadness.
- Props: Objects that carry symbolic weight – a broken mirror may suggest shattered identity.
- 灯光：高调光（明亮、少阴影）暗示快乐或积极情绪；低调光（强对比、浓重阴影）暗示神秘或危险。
- 色彩基调：暖色（红、橙）暗示激情或危险；冷色（蓝、灰）暗示平静或悲伤。
- 道具：携带象征重量的物件——例如一面破碎的镜子可能暗示分裂的自我。
4. Sound: Diegetic & Non-Diegetic | 声音：剧情声与非剧情声
Sound in media can be divided into two master categories. Diegetic sound originates from within the story world – dialogue, footsteps, a radio playing. Non-diegetic sound comes from outside the story world – a film score, a voiceover narrator added in post-production. Soundtracks can manipulate our emotions, foreshadow events, or build tension without any visual change.
媒体中的声音可以分为两大类。剧情声（diegetic sound）来源于故事世界内部——对白、脚步声、一台收音机正在播放。非剧情声（non-diegetic sound）来自故事世界之外——电影配乐、后期添加的画外音叙述者。声音可以操纵我们的情绪、预示事件或在毫无视觉变化的情况下制造紧张感。
Diegetic = heard by characters
Non-diegetic = only heard by audience
剧情声 = 角色能听到
非剧情声 = 只有观众能听到
- Parallel sound: matches the mood on screen (e.g. cheerful music during a happy scene).
- Contrapuntal sound: contrasts deliberately with the image (e.g. eerie music over a peaceful scene) to create unease.
- 同步声：与画面情绪一致（如欢乐场景配欢快音乐）。
- 对位声：刻意与画面形成对比（如在平静场景中播放诡异音乐）以制造不安感。
5. Editing: The Invisible Art | 剪辑：隐形的艺术
Editing is the process of selecting and combining shots to create a sequence. The pace of editing – how long each shot lasts – controls rhythm and urgency. A rapid succession of short shots (fast cutting) can generate excitement or panic, while lingering, long takes allow the viewer to absorb detail and feel calm. Transitions such as a fade to black or a dissolve can signal the passage of time or a change in mood.
剪辑是选择并组合镜头以创造序列的过程。剪辑的节奏——每个镜头持续多长时间——控制着韵律和紧迫感。快速连续短镜头（快切）可以制造兴奋或恐慌，而持续的长镜头让观众有时间吸收细节并感到平静。淡出为黑或叠化等转场可以表示时间的流逝或情绪的变化。
- Continuity editing: aims to make the action flow smoothly and invisibly, so the audience forgets they are watching a constructed product.
- Montage: a sequence of shots edited together to compress time, convey a theme, or show a passage of events.
- Cutaway: a shot that temporarily breaks away from the main action to show related detail or reaction.
- 连续性剪辑：力求让动作流畅且不留痕迹，使观众忘记自己正在观看一个被构建的成品。
- 蒙太奇：将一系列镜头拼贴在一起以压缩时间、传达主题或展示事件进程。
- 切入镜头：暂时离开主轴动作以展示相关细节或反应的镜头。
6. Representation: How the Media Portrays the World | 表征：媒体如何描绘世界
Representation is the way media texts portray particular groups, places, events, or ideas. Media products do not simply reflect reality; they select, construct, and mediate what we see. A news photograph of a teenager might choose an angle that makes them look threatening or studious. When studying representation, always ask: who created this? For what purpose? What version of reality is being offered?
表征是媒体文本描绘特定群体、地点、事件或观念的方式。媒体产品并非简单地反映现实；它们对我们所见的进行选择、构建和中介处理。一张关于青少年的新闻照片可能选择一个让他们看起来有威胁感或勤奋好学的角度。研究表征时，永远要问：谁创作了这个？出于什么目的？提供了怎样的现实版本？
- Stereotype: a simplified, widely held idea about a group (e.g. ‘all scientists wear glasses’). Stereotypes can be positive or negative but always reduce individuality.
- Countertype: a deliberate challenge to a stereotype (e.g. portraying a male nurse or a female mechanic).
- Mediation: the process of selecting, editing, and constructing a media text, which inevitably shapes meaning.
- 刻板印象：对某一群体简化的、普遍持有的看法（例如“所有科学家都戴眼镜”）。刻板印象可以是正面或负面的，但总会抹杀个体性。
- 反类型：对刻板印象的有意挑战（例如塑造一个男护士或女机械师）。
- 中介化：选择、编辑和构建媒体文本的过程，这一过程不可避免地塑造含义。
7. Audience: Who is Watching? | 受众：谁在观看？
Every media text has an intended audience – and many texts have several audience segments. Producers categorise audiences by demographics (age, gender, income, education) and psychographics (values, interests, lifestyle). Understanding the target audience helps explain why certain choices were made about language, representation, and platform. Remember that an audience can be active (interpreting and reacting critically) rather than passive.
每个媒体文本都有预期受众——许多文本还有多个受众群体。制作者按人口统计特征（年龄、性别、收入、教育程度）和心理描摹特征（价值观、兴趣、生活方式）将受众分类。理解目标受众有助于解释为什么在语言、表征和平台方面做出某些选择。记住，受众可以是主动的（批判性地解读和反应），而非被动的。
- Uses and Gratifications theory: audiences use media to meet needs – information, personal identity, social interaction, entertainment.
- Target audience profile: a description of the typical audience member, including age range, hobbies, and media habits.
- 使用与满足理论：受众使用媒体以满足需求——信息、个人身份认同、社会互动、娱乐。
- 目标受众画像：对典型受众成员的描述，包括年龄段、爱好和媒体习惯。
8. Institutions: Who Makes Media? | 机构：谁制造媒体？
A media institution is the organisation or company behind the production and distribution of a media text. This could be a global conglomerate like the BBC, Disney, or Netflix, or a small independent production company. The institution’s values, commercial aims, and regulatory environment influence the final product. For example, a publicly funded broadcaster must fulfil certain public service obligations that a commercial company might ignore.
媒体机构是媒体文本制作和发行背后的组织或公司。这可能是像 BBC、迪士尼或 Netflix 这样的全球性企业集团，也可能是一家小型独立制作公司。机构的价值观、商业目标和监管环境影响着最终产品。例如，公共资助的广播公司必须履行某些公共服务义务，而商业公司可能忽略这些。
- Public service broadcaster (PSB): funded by licence fee or government, mandated to inform, educate, and entertain.
- Commercial institution: funded by advertising, subscription, or sales; profit-driven.
- Convergence: the merging of different media platforms and technologies, often by large companies owning several outlets.
- 公共服务广播机构：由执照费或政府资助，承担告知、教育和娱乐的使命。
- 商业机构：由广告、订阅或销售资助，以利润为导向。
- 融合：不同媒体平台和技术的合并，通常由拥有多个渠道的大公司实现。
9. Narrative Theories: How Stories Are Told | 叙事理论：故事如何被讲述
Narrative is the structure of a story – the way events are ordered and presented to the audience. Studying narrative means looking at how a text organises time, withholds or reveals information, and creates patterns of conflict and resolution. Even factual media such as news reports use narrative conventions to turn events into coherent stories.
叙事是故事的结构——事件向受众呈现的次序和方式。研究叙事意味着观察文本如何组织时间、如何保留或揭示信息、如何构建冲突与解决冲突的模式。即使是新闻报道等纪实媒体也会使用叙事惯例，将事件转化为连贯的故事。
- Todorov’s narrative theory: equilibrium → disruption → recognition → attempt to repair → new equilibrium.
- Propp’s character types: hero, villain, donor (gives help), dispatcher, helper, princess, false hero.
- Linear vs. non-linear: linear follows chronological order; non-linear uses flashbacks or parallel timelines.
- 托多罗夫叙事理论：平衡 → 打破平衡 → 承认混乱 → 尝试修复 → 新的平衡。
- 普罗普角色类型：英雄、恶棍、赠与者（提供帮助）、派遣者、帮手、公主、假英雄。
- 线性与非线性：线性遵循时间顺序；非线性采用闪回或并行时间线。
10. Genre: Conventions & Expectations | 类型：惯例与期待
Genre is the system of categorising media texts by shared conventions. A horror film, for example, typically includes dark settings, creepy music, a monster or threat, and themes of fear and survival. Audiences use genre as a shortcut to decide what to watch; producers rely on genre to reduce risk, knowing that certain formulas have proven appeal. However, hybrid genres (mixing conventions from two genres, such as romantic comedy or sci-fi horror) keep the media landscape dynamic.
类型是通过共享惯例对媒体文本进行分类的系统。例如，一部恐怖电影通常包含黑暗场景、令人毛骨悚然的音乐、怪物或威胁，以及恐惧与生存的主题。受众利用类型作为选择观看什么的快捷方式；制作者依赖类型来降低风险，知道某些公式已被证明具有吸引力。然而，混合类型（混合两种类型的惯例，如浪漫喜剧或科幻恐怖）使媒体景观保持活力。
- Convention: a typical ingredient of a genre (e.g. jump scares in horror, high-speed chases in action).
- Iconography: the visual signs and symbols associated with a genre (e.g. cowboy hats in Westerns, spaceships in sci-fi).
- Sub-genre: a smaller, more specific category within a larger genre (e.g. zombie horror, superhero action).
- 惯例：某一类型的典型要素（例如，恐怖片中的突发惊吓，动作片中的高速追逐）。
- 图像志：与某一类型相关的视觉标志和符号（例如，西部片中的牛仔帽，科幻片中的宇宙飞船）。
- 子类型：一个较大类型内更小、更具体的类别（例如，僵尸恐怖片、超级英雄动作片）。
11. Media Literacy: Spotting Bias & Stereotypes | 媒介素养：识别偏见与刻板印象
Media literacy is the ability to access, analyse, evaluate, and create media in a variety of forms. For Year 7, this means learning to question what you see rather than accepting it at face value. Check who produced the content, what might be missing, and whether the language loads the story with a particular viewpoint. A news headline that says ‘Youths cause chaos’ is very different from ‘Young people express frustration’ – word choice matters.
媒介素养是访问、分析、评估和创造各种形式媒体的能力。对七年级学生而言，这意味着学会质疑所见事物，而非表面接受。检查谁制作了内容、可能遗漏了什么，以及语言是否为故事加载了特定观点。“青少年制造混乱”和“年轻人表达不满”这两个新闻标题截然不同——措辞至关重要。
- Fact vs. opinion: a fact can be verified; an opinion is a personal belief or judgment.
- Omission bias: leaving out important information or perspectives to shape the narrative.
- Clickbait: sensational headlines designed to attract clicks rather than inform accurately.
- 事实与观点：事实可以被验证；观点是个人信念或判断。
- 遗漏偏见：省略重要信息或视角以塑造叙事。
- 标题党：为吸引点击而非准确告知而设计的耸动标题。
12. Revision Checklist: Key Terms to Memorise | 复习清单：必记关键术语
Use this final checklist to test yourself. Cover the right-hand column and try to recall the definition; then check and repeat. Mastering these terms will allow you to write confidently about any media text you encounter in your exam or classroom discussion.
使用这份最终清单来自我检测。盖住右栏，尝试回忆定义；然后检查并重复。掌握这些术语将使你能够自信地在考试或课堂讨论中分析任何媒体文本。
| Term | Quick Definition |
|---|---|
| Media language | Codes and conventions used to communicate meaning |
| Denotation / Connotation | Literal meaning / associated deeper meaning |
| Mise-en-scène | Everything placed in front of the camera |
| Diegetic / Non-diegetic sound | Sound from inside / outside the story world |
| Representation | The way reality is re-presented or constructed |
| Stereotype | Oversimplified, generalised image of a group |
| Target audience | The specific group for whom a text is designed |
| Institution | The organisation creating and distributing media |
| Narrative | The structure and organisation of a story |
| Genre convention | A typical feature expected within a genre |
| Bias | Unfair preference or prejudice in a text |
| Media literacy | The skill to critically access, analyse and create media |
中文关键词：媒体语言、明示义/隐含义、场面调度、剧情声/非剧情声、表征、刻板印象、目标受众、机构、叙事、类型惯例、偏见、媒介素养。
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