📚 Year 9 CAIE Media: Formulae & Theorems Quick Reference Guide | 九年级 CAIE 媒体：公式定理速查手册
This quick reference guide is designed for Year 9 students following the CAIE Media pathway. It presents the core quantitative formulae used to measure audiences, reach, and engagement, alongside the most influential media theories. Understanding these building blocks will help you analyse media texts, industries, and audiences with confidence.
本速查手册专为学习 CAIE 媒体课程的九年级学生编写。它收录了衡量受众、到达率和互动度的核心量化公式，以及最具影响力的媒体理论。掌握这些基本模块将帮助你自信地分析媒体文本、媒体产业和受众。
1. TV Rating | 收视率
Rating (%) = (Audience Households / Total TV Households) × 100
The TV rating measures the percentage of all television-equipped households (or individuals) in a given market that are tuned into a specific programme at a specific time. It is the most fundamental metric for broadcast media, determining advertising rates and scheduling decisions. For example, a rating of 12% means that 12 out of every 100 TV households watched the show.
收视率衡量的是在特定市场中，某一特定时间收看特定节目的电视家庭（或个人）占所有拥有电视机家庭（或个人）总数的百分比。它是广播电视媒体最基础的指标，决定着广告费率和节目编排。例如，12% 的收视率意味着平均每 100 个电视家庭中有 12 个收看了该节目。
2. Audience Share | 市场份额
Share (%) = (Channel Audience / Total TV Audience Using Sets) × 100
Audience share, often called 'share of viewing', represents the percentage of the total viewing audience that is watching a particular channel or programme at any given moment. Unlike the rating, the share does not consider households that are not watching television at all. It only counts active viewers. A high share indicates a programme's strength relative to its direct competition.
市场份额，通常称为“收视份额”，是指在任意特定时刻收看某一频道或节目的观众占所有正在看电视的总观众数的百分比。与收视率不同，市场份额不考虑未开机的家庭，仅统计活跃观众。高市场份额表明该节目相对于直接竞争对手的表现更强。
3. Cost Per Thousand (CPM) | 每千人成本
CPM = (Advertising Cost / Total Impressions) × 1,000
CPM tells an advertiser how much it costs to reach one thousand viewers, readers, or listeners. It is a standard unit for comparing the efficiency of different media platforms. A lower CPM suggests a more cost-effective way to achieve a given level of audience exposure. In the digital world, 'impressions' are often used as the denominator.
每千人成本 (CPM) 告诉广告商接触到一千名观众、读者或听众所需的费用。它是比较不同媒体平台投放效率的标准化单位。较低的 CPM 意味着以更具成本效益的方式实现特定的受众曝光量。在数字领域，分母通常指“曝光次数”。
4. Circulation & Readership | 发行量与阅读量
Readership = Circulation × Readers per Copy
Circulation counts the number of physical copies of a newspaper or magazine that are distributed (sold plus free copies). Readership, on the other hand, estimates the total number of individuals who actually read a single issue. A family newspaper might have a circulation of one but a readership of four, because multiple people share it. This distinction is critical for understanding true print reach.
发行量统计的是一份报纸或杂志实际发行的实体份数（售出加免费赠阅）。而阅读量估算的则是实际阅读单期刊物的总人数。一份家庭报纸的发行量可能为 1，但其阅读量可能为 4，因为多人传阅。理解这一区别对于掌握印刷媒体的真实到达率至关重要。
5. Engagement Rate | 互动率
Engagement Rate (%) = (Total Engagements / Total Followers or Reach) × 100
For social and digital media, engagement rate measures how actively an audience interacts with content. Engagements include likes, shares, comments, saves, and clicks. A high engagement rate signals that an audience is not just passively scrolling but actively responding, which is highly valuable for algorithms and influencer marketing.
在社交媒体和数字媒体中，互动率衡量受众与内容互动的活跃程度。互动行为包括点赞、分享、评论、收藏和点击。高互动率表明受众并非仅被动浏览，而是主动回应，这对于算法推荐和网红营销而言价值极高。
6. Uses and Gratifications Theory | 使用与满足理论
Media Use = f (Individual Needs)
Developed by Blumler and Katz, this theorem shifts the question from 'What do media do to people?' to 'What do people do with media?' Audiences are active and use media to satisfy four basic needs.
该定理由布鲁姆勒与卡茨提出，将问题从“媒体对人们做了什么”转变为“人们用媒体做什么”。受众是主动的，他们利用媒体满足四种基本需求。
1. Diversion: escaping from routine, problems, and emotional release.
1. 娱乐消遣：逃避日常琐事、问题及获得情感释放。
2. Personal Relationships: using media as a substitute for real-life companionship or to connect socially.
2. 人际关系：以媒体替代现实陪伴，或进行社交联结。
3. Personal Identity: reinforcing personal values, exploring identity, or identifying with characters.
3. 个人身份：强化个人价值观、探索身份认同或与角色产生共鸣。
4. Surveillance: gathering information about the world, being informed.
4. 信息监测：收集关于世界的信息，保持消息灵通。
7. Encoding/Decoding Theory | 编码/解码理论
Text → Producer Encodes Meaning → Medium → Audience Decodes Meaning
Stuart Hall proposed that media producers encode preferred meanings into texts using codes and conventions. However, audiences are not passive; they decode meaning based on their social and cultural frameworks. Three reading positions are possible.
斯图尔特·霍尔提出，媒体生产者运用符码和惯例将“优先意义”编码进文本之中。然而，受众并非被动，他们依据自身社会文化框架进行解码。存在三种解读立场。
1. Preferred Reading: the audience interprets the message exactly as the producer intended.
1. 优先式解读：受众完全按照生产者意图解读信息。
2. Negotiated Reading: the audience broadly accepts the preferred meaning but modifies it based on personal experience.
2. 协商式解读：受众大体接受优先意义，但根据个人经验进行修正。
3. Oppositional Reading: the audience completely rejects the producer's intended message due to conflicting beliefs.
3. 对抗式解读：因信念冲突，受众完全拒绝生产者试图传达的信息。
8. Propp's Character Theory | 普罗普角色理论
Narrative Character Set = {Hero, Villain, Donor, Helper, Princess, Dispatcher, False Hero}
Vladimir Propp analysed hundreds of Russian folk tales and concluded that all narratives can be constructed around seven recurring character types, each with a specific sphere of action.
弗拉基米尔·普罗普分析了数百个俄罗斯民间故事，得出结论：所有叙事都可以围绕七种反复出现的角色类型进行构建，每种角色都有特定的行动范围。
1. The Hero: the character who seeks something and restores equilibrium.
1. 英雄：寻求某物并恢复平衡的角色。
2. The Villain: the character who opposes the hero and creates disruption.
2. 恶棍：反对英雄、制造混乱的角色。
3. The Donor: prepares the hero or gives the hero a magical object.
3. 捐赠者：为英雄做准备或赠予魔法的角色。
4. The Helper: assists the hero in the quest.
4. 帮手：在任务中帮助英雄的角色。
5. The Princess: the reward for the hero, often sought by the villain.
5. 公主：英雄的奖赏，常被恶棍觊觎。
6. The Dispatcher: the character who sends the hero on the mission.
6. 派遣者：派遣英雄去执行任务的角色。
7. The False Hero: takes credit for the hero's actions or tries to marry the princess.
7. 假英雄：试图抢夺英雄功劳或迎娶公主的角色。
9. Todorov's Narrative Structure | 托多罗夫叙事结构
Equilibrium → Disruption → Recognition → Attempt to Repair → New Equilibrium
Tzvetan Todorov suggested that every story follows a five-stage pattern. It begins with a calm, stable state of affairs (Equilibrium) that is broken by an event (Disruption). The characters recognise the disruption and attempt to fix the problem, eventually reaching a new, often transformed, balance.
茨维坦·托多罗夫认为，每个故事都遵循五段式结构。故事始于宁静稳定的秩序（平衡），随即被某个事件打破（失衡）。角色们意识到问题并尝试修复，最终达到一种新的、往往发生了转变的平衡。
10. Representation Theory | 表征理论
Representation = Reality + Mediation (Selection, Omission, Construction)
Media representations are never simply a mirror of reality. Producers select certain images and words, omit others, and construct a version of reality shaped by ideology, context, and purpose. Richard Dyer argued that media representations reinforce stereotypes but can also be challenged. Analysing representations means asking: who produced this, for whom, and what is the effect?
媒体表征绝非现实的简单镜像。生产者选择某些图像和词语，忽略其他内容，并构建出一个由意识形态、语境和目的所塑造的“现实”版本。理查德·戴尔指出，媒体表征会强化刻板印象，但也可能受到挑战。分析表征意味着追问：谁创造了它、为谁而创、效果如何？
11. Hypodermic Needle Theory | 皮下注射理论
Media Message → Direct, Uniform Effect → Passive Audience
This early effects model proposed that media messages are injected directly into the minds of a passive, homogeneous audience, producing an immediate and uniform response. It was influenced by propaganda studies and the moral panic surrounding early cinema and radio. Although largely discredited today for being too simplistic, the theory remains a useful benchmark for discussing moral panics about new technologies.
这一早期的效果模型提出，媒体信息如注射器般直接注入被动、同质化的受众脑中，产生即时且统一的反应。它深受宣传研究和早期电影、广播引发的道德恐慌影响。尽管该理论因过于简单化而在今日备受质疑，但它仍然是讨论新技术引发的道德恐慌时的有用参照点。
12. Gatekeeping Theory | 把关人理论
Information Flow → Gatekeeper (Selection Filter) → Published Content
Gatekeeping describes the process by which countless potential news stories are filtered down to the few that are actually published. Editors, journalists, and now algorithms decide which events are newsworthy based on criteria like proximity, prominence, timeliness, and impact. In the era of social media, traditional gatekeeping has shifted, with audiences also becoming curators.
把关人理论描述了海量潜在新闻事件经过过滤最终仅有少数得以发布的过程。编辑、记者以及如今的算法，依据接近性、显著性、时效性和影响力等标准决定哪些事件具有新闻价值。在社交媒体时代，传统的把关发生了变化，受众自身也成为了内容策展人。
Published by TutorHao | Media 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