📚 Year 10 CIE Media: Essential Terminology Guide | CIE 十年级媒体研究必备术语指南
Mastering key media terminology is essential for Year 10 CIE Media Studies students to effectively analyse media texts, construct convincing arguments, and achieve high marks in your assessments. This bilingual quick-reference guide covers the most important terms you will encounter across the course, from camera work and editing to audience theories and representation, with clear explanations in both English and Chinese.
掌握关键的媒体术语对于 CIE 十年级媒体研究学生有效分析媒体文本、构建有说服力的论点并在评估考试中取得高分至关重要。这份双语速查指南涵盖了你将在整个课程中遇到的最重要术语，从摄影机工作和剪辑到受众理论与表征，均提供英中对照的清晰解释。
1. Media Language: Camera Shots and Angles | 媒体语言：镜头与角度
Establishing Shot: Often an extreme long shot used at the beginning of a scene to show the setting and context, letting the audience know where and when the action is taking place.
建立镜头：通常为极远景，用在一场戏的开头，展示背景与场景信息，让观众知道故事发生的地点和时间。
Long Shot (Wide Shot): Shows the entire subject in relation to the environment. A figure is fully visible and the setting dominates, emphasising the character's place within the world.
远景（广角镜头）：展现被摄主体与其环境的全貌。人物全身可见，背景占据主要画面，强调角色在所处世界中的位置。
Medium Shot: Frames the subject from the waist up, commonly used for dialogue scenes. It captures gestures and facial expressions while retaining some background detail.
中景：从腰部以上框取主体，常用于对话场景。它既能捕捉手势和面部表情，又能保留部分背景细节。
Close-up: Tightly frames a person's face or a specific object, drawing the audience's attention to emotions, details, or significant props. It creates intimacy or emphasis.
特写：紧凑地框取人脸或特定物体，将观众注意力引向情感、细节或重要道具。它营造亲密感或起到强调作用。
Extreme Close-up: Shows only a small detail such as an eye, a hand, or a key object, heightening tension, mystery, or symbolic importance.
大特写：仅展示微小细节，如一只眼睛、一只手或一件关键物品，强化紧张感、神秘感或象征意义。
High Angle Shot: The camera is positioned above the subject, tilting downward to make the character appear vulnerable, weak, or insignificant.
高角度镜头：摄影机位于被摄主体上方并向下倾斜，使角色显得脆弱、弱小或微不足道。
Low Angle Shot: The camera looks up at the subject from below, making the character appear dominant, powerful, or threatening.
低角度镜头：摄影机从下方仰视被摄主体，使角色显得具有主导性、强大或具威胁感。
Eye-level Shot: The camera is positioned at the subject's eye level, creating a neutral, natural perspective that invites the audience to relate to the character as an equal.
平视镜头：摄影机位于与被摄主体视线水平的位置，创造出中性、自然的视角，引导观众以平等的姿态与角色建立联系。
Dutch Angle (Canted Angle): The camera is tilted off to one side so that the horizon line is slanted, conveying disorientation, unease, or psychological instability.
斜角镜头（荷兰角）：摄影机向一侧倾斜，使得地平线歪斜，传达迷失方向、不安或心理失衡的状态。
Point-of-View (POV) Shot: The camera shows what a character sees from their perspective, placing the audience directly into the character's experience.
主观镜头：摄影机展示角色所看到的内容，从该角色的视角出发，使观众直接代入角色的体验。
2. Mise-en-Scène and Composition | 场面调度与构图
Mise-en-Scène: A French term meaning "put in the scene," referring to everything that appears before the camera and its arrangement – setting, props, actors, costumes, lighting, and colour.
场面调度：法语术语，意为“置于场景之中”，指呈现在摄影机前的一切元素及其安排，包括布景、道具、演员、服装、灯光和色彩。
High-key Lighting: Bright, even lighting with very few shadows, often used in comedies, musicals, and sitcoms to create an upbeat, cheerful atmosphere.
高调用光：明亮均匀的照明，几乎没有阴影，常见于喜剧、音乐剧和情景喜剧中，以营造明快愉悦的氛围。
Low-key Lighting: Creates strong contrasts between light and shadow, with deep blacks and dramatic pools of light, typical of film noir, horror, and thrillers to generate mystery or tension.
低调用光：制造光亮与阴影之间的强烈对比，带有深沉的暗部和戏剧性的光域，典型见于黑色电影、恐怖片和惊悚片，以营造神秘或紧张感。
Prop (Property): Any object used in a scene. Props can be functional or symbolic, carrying narrative meaning (e.g., a weapon representing threat, a letter representing secrets).
道具：场景中使用的任何物品。道具可以具有功能性或象征意义，承载叙事含义（例如武器代表威胁，一封信代表秘密）。
Costume: The clothing worn by characters, which conveys information about their personality, social status, era, and role within the narrative.
服装：角色穿着的衣物，传达关于其性格、社会地位、时代以及叙事中角色的信息。
Body Language and Facial Expression: Non-verbal communication through posture, gestures, and facial movements that reveals a character's inner state, relationships, and intentions.
肢体语言与面部表情：通过姿势、手势和面部动作进行的非语言交流，揭示角色的内心状态、人际关系和意图。
Colour Palette: The deliberate selection and combination of colours within a scene to evoke mood, signify genre, or symbolise ideas (e.g., warm tones for comfort, desaturated colours for bleakness).
色彩搭配：场景中有目的地选择和组合色彩，以引发情绪、体现类型或象征概念（例如暖色调代表舒适，去饱和色彩代表凄凉）。
3. Editing and Transitions | 剪辑与转场
Continuity Editing: The dominant style of editing that aims to make the action flow smoothly and logically across shots, maintaining consistent time and space so that the audience rarely notices the cuts.
连续性剪辑：主流的剪辑风格，旨在使动作在镜头间顺畅并合乎逻辑地衔接，保持一致的时间和空间，令观众几乎察觉不到剪辑的存在。
Shot/Reverse Shot: Used in dialogue scenes; the camera cuts between two characters facing each other, typically over each character's shoulder, maintaining the 180-degree rule.
镜头/反打镜头：用于对话场景；摄影机在面对面交谈的两个角色之间切换，通常越过肩膀拍摄，维持180度规则。
180-Degree Rule: An imaginary line between two characters (or a subject and an object) that the camera should not cross, ensuring consistent screen direction and spatial coherence.
180度规则：在两个角色（或主体与客体）之间有一条想象线，摄影机不应越过此线，以确保银幕方向一致和空间连贯性。
Eyeline Match: A cut that follows a character's gaze; we see them look off-screen, then the next shot shows what they are looking at, linking subjective viewpoint to the object of attention.
视线匹配：跟随角色视线进行的剪辑；我们看到角色向画外看，下一个镜头便展示其所看之物，将主观视角与注意对象联系起来。
Montage: A rapid sequence of shots compressed in time to condense narrative information, create emotional impact, or convey thematic connections (e.g., training sequences).
蒙太奇：快速拼接的一系列镜头，在时间上压缩叙事信息，制造情感冲击或传达主题关联（例如训练片段）。
Cross-cutting (Parallel Editing): Cutting between two or more separate scenes happening simultaneously in different locations, building suspense and showing relationships between events.
交叉剪辑（平行剪辑）：在两个或以上在同一时间不同地点发生的场景之间切换，营造悬念并展现事件间的关联。
Jump Cut: An abrupt cut that breaks continuity by removing significant portions of time from a single shot, creating a jarring or disorienting effect, often used to show the passage of time or psychological states.
跳切：一种破坏连续性的突然剪辑，在单一镜头中切除大量时间，制造突兀或混乱的效果，常用于表现时间流逝或心理状态。
Fade In/Out: A gradual transition where the image slowly appears from black (fade in) or disappears into black (fade out), often signalling the beginning or end of a scene or film.
淡入/淡出：图像从黑色中逐渐显现（淡入）或逐渐隐入黑色（淡出）的转场方式，常暗示一场戏或影片的开始与结束。
4. Sound and Diegesis | 声音与叙事空间
Diegetic Sound: Sound whose source is visible on screen or implied to be present in the world of the film, such as dialogue, the sound of footsteps, or a radio playing.
剧情声：声源在银幕上可见或暗示存在于电影世界中的声音，如对白、脚步声或收音机播放的声音。
Non-diegetic Sound: Sound that comes from outside the story world, such as background music, voice-over narration, or added sound effects the characters cannot hear.
非剧情声：来自故事世界之外的声音，例如背景音乐、画外音旁白，或者角色听不到的附加音效。
Sound Bridge: A sound that links two scenes, either by carrying across the cut (e.g., audio from the next scene begins before we see it) or by continuing a sound from the previous scene, creating a smooth narrative flow.
音桥：连接两场戏的声音，通过跨越剪辑点（例如下一场的音频在画面出现前开始播放）或延续前一场的声音，创造流畅的叙事连接。
Foley Sound: Everyday sound effects recorded in post-production to match the on-screen action, such as footsteps, the rustle of clothing, or the clink of glasses, enhancing realism.
拟音：后期制作中录制以匹配画面的日常音效，如脚步声、衣物沙沙声或酒杯碰撞声，增强真实感。
Synchronous Sound: Sound that is matched to the action occurring on screen, such as lips moving in time with dialogue; it reinforces realism.
同步声：与银幕上发生的动作相匹配的声音，如嘴唇动作和对白同步；它加强了真实感。
Asynchronous Sound: Sound that does not match the visible source, used deliberately to create unease, comment on action, or add symbolic meaning.
非同步声：与可见声源不吻合的声音，有意地用于营造不安感、评价动作或添加象征意义。
Contrapuntal Sound: Sound that contrasts and intentionally works against the visuals to create a conflicting emotional effect, for example, cheerful music playing over violent imagery.
对位声：与画面形成对比并有意与之相悖的声音，以制造矛盾的情感效果，例如在暴力画面中播放欢快的音乐。
5. Narrative Theory and Structure | 叙事理论与结构
Linear Narrative: A story presented in chronological order from beginning to end, following a straightforward timeline of cause and effect.
线性叙事：按时间顺序从头到尾呈现的故事，遵循直接的因果时间线。
Non-linear Narrative: A narrative that disrupts chronological order, using flashbacks, flash-forwards, or parallel timelines to construct meaning and engage the audience.
非线性叙事：打乱时间顺序的叙事，使用倒叙、预叙或平行时间线来构建意义并吸引观众。
Todorov's Equilibrium Theory: Narratives begin with an equilibrium (normal state), which is disrupted by an event (disequilibrium), then through a struggle a new equilibrium is restored, often with some change.
托多洛夫的平衡理论：叙事始于一种平衡（常态），被某一事件打破（失序），经过斗争后恢复新的平衡，通常伴随某种改变。
Propp's Character Functions: Vladimir Propp identified recurring character types in folk tales, such as the hero, villain, donor, helper, princess, dispatcher, and false hero, which perform narrative functions.
普罗普的角色功能：弗拉基米尔·普罗普在民间故事中识别出反复出现的角色类型，如英雄、反派、赠予者、帮手、公主、派遣者和假英雄，它们各自承担叙事功能。
Binary Oppositions (Levi-Strauss): Narratives are structured around pairs of opposing concepts (e.g., good vs evil, nature vs civilisation), and meaning is generated through the conflict between these opposites.
二元对立（列维-斯特劳斯）：叙事围绕成对的对立概念（如善与恶、自然与文明）构建，意义通过这些对立面之间的冲突得以生成。
Enigma Code (Barthes): A narrative device that creates mystery or puzzles by withholding information, enticing the audience to keep watching to find the answer.
谜题编码（巴特）：一种通过隐藏信息制造神秘或谜题的叙事手段，诱使观众持续观看以寻找答案。
Three-Act Structure: A standard screenplay model dividing a story into Setup (Act 1), Confrontation (Act 2), and Resolution (Act 3), widely used in mainstream film and television.
三幕结构：标准的剧本模型，将故事分为建置（第一幕）、对抗（第二幕）和解决（第三幕），广泛用于主流电影和电视剧。
6. Semiotics: Signs and Codes | 符号学：符号与编码
Sign: The basic unit of semiotics, consisting of a signifier (the form) and a signified (the concept it refers to). For example, the word "rose" is a signifier for the idea of a flower associated with love.
符号：符号学的基本单位，由能指（形式）和所指（所指涉的概念）组成。例如，“玫瑰”一词是能指，指代与爱相关的花的概念。
Icon: A sign that physically resembles what it represents (e.g., a photograph, a map, a portrait). The relationship is based on likeness.
像似符：一种在物理形态上与其所指对象相似的符号（例如照片、地图、肖像）。其关系基于相似性。
Index: A sign that has a direct causal or physical link to its object (e.g., smoke is an index of fire, a footprint is an index of a foot). It points to something else.
指示符：与其对象有直接因果或物理联系的符号（例如，烟是火的指示符，脚印是脚的指示符）。它指向别物。
Symbol: A sign where the relationship between signifier and signified is arbitrary and governed by convention or cultural rules (e.g., a red heart symbolises love, a crown symbolises royalty).
象征符：能指与所指之间的关系是任意的，由惯例或文化规则支配的符号（例如，红心象征爱情，王冠象征王室）。
Connotation: The secondary, cultural or personal meanings attached to a sign, beyond its literal denotation. For instance, a dove connotes peace.
内涵：符号所附带的文化或个人层面的次级含义，超越其字面外延。例如，鸽子内涵为和平。
Denotation: The literal, obvious or dictionary meaning of a sign, the straightforward description of what can be seen or heard.
外延：符号的字面、明显或字典含义，即对所见到或听到的内容的直接描述。
Anchorage: The use of text (such as a caption or headline) to fix or limit the range of possible meanings of an image, guiding the audience towards a preferred reading.
锚定：利用文字（如图注或标题）来确定或限制图像可能产生的多种含义，引导观众朝向一种优先解读。
7. Audience Theories and Targeting | 受众理论与定位
Uses and Gratifications Theory: An approach suggesting that audiences actively use media to satisfy needs such as information, personal identity, social interaction, and entertainment, rather than passively absorbing content.
使用与满足理论：认为受众主动使用媒体以满足信息、个人身份认同、社会互动和娱乐等需求，而不是被动吸收内容的一种研究取向。
Encoding/Decoding Model (Stuart Hall): Media producers encode messages with intended meanings, but audiences decode them in different ways: dominant (accepting the intended meaning), negotiated (partly accepting, partly adapting), or oppositional (rejecting and replacing the meaning).
编码/解码模型（斯图亚特·霍尔）：媒体生产者将信息编码并带有意图意义，但受众以不同方式解码：主导式（接受原意）、协商式（部分接受、部分调整）或对抗式（拒绝并替换其含义）。
Target Audience: A specific group of consumers identified by demographics (age, gender, class) and psychographics (interests, values) that a media text aims to reach.
目标受众：通过人口统计学（年龄、性别、阶层）和心理描摹（兴趣、价值观）识别出的特定消费群体，媒体文本旨在触及他们。
Niche Audience: A small, specialised, and often loyal audience segment with distinct tastes, targeted by specialised media content (e.g., a magazine about vintage motorcycles).
利基受众：具有独特品味的小型、专业化且通常忠诚的受众群体，由专门化的媒体内容所定位（例如，一本关于老式摩托车的杂志）。
Mass Audience: A large, heterogeneous audience that is broadly targeted by mainstream media aiming for high ratings or large circulation.
大众受众：庞大而多样的受众，由主流媒体广泛定位，追求高收视率或大发行量。
Passive vs. Active Audience: Older models view audiences as passive, easily influenced (hypodermic needle model); contemporary theories see audiences as active, critically engaging with and interpreting media texts.
被动与主动受众：旧有模型认为受众是被动的、易受影响的（皮下注射模型）；当代理论则视受众为主动地、批判性地参与和解读媒体文本的个体。
Two-Step Flow Theory: Ideas flow from mass media to opinion leaders, and then from those leaders to the wider population, suggesting that social influence mediates media effects.
两级传播理论：信息从大众媒体流向意见领袖，再由意见领袖传递给更广泛的公众，表明社会影响在媒体效果中起中介作用。
8. Representation and Stereotypes | 表征与刻板印象
Representation: The ways in which media re-presents the world to audiences – the constructed portrayals of individuals, social groups, events, and issues, rather than a simple mirror of reality.
表征：媒体将世界重新呈现给观众的方式——对个体、社会群体、事件和议题进行的建构性描绘，而非现实的简单反映。
Stereotype: A simplified, exaggerated, and widely held generalisation about a social group, often reducing individuals to a few negative or humorous traits, and frequently used as a narrative shortcut.
刻板印象：关于某一社会群体的简化、夸大且被广泛接受的概括，常将个体缩减为几个负面或滑稽的特征，并经常被用作叙事捷径。
Countertype: A positive or deliberately challenging representation that subverts or overturns a dominant stereotype, designed to break assumptions and promote diversity.
反刻板印象：一种颠覆或推翻主流刻板印象的正面或有意的挑战性表征，旨在打破成见并推广多样性。
The Male Gaze (Laura Mulvey): A concept describing how visual media often construct the spectator as a heterosexual male, framing women as passive objects to be looked at, for male visual pleasure.
男性凝视（劳拉·穆尔维）：描述视觉媒体通常将观众建构为异性恋男性的概念，将女性框定为被观看的被动对象，以满足男性的视觉愉悦。
Mediation: The process through which media producers select, edit, and shape a representation, making choices about what to include and exclude, thereby constructing a particular version of reality.
媒介化：媒体生产者通过选择、编辑和塑造进行表征的过程，决定纳入与排除哪些内容，从而建构一种特定版本的现实。
Tokenism: The superficial inclusion of a minority character or group merely to give the appearance of equality or diversity, without meaningful integration into the narrative.
象征性点缀：仅仅为了表面上体现平等或多样性而浅层地纳入少数群体角色，却未将其有意义地融入叙事之中。
9. Genre and Conventions | 类型与惯例
Genre: A category of media text defined by shared conventions of content, narrative structure, style, and iconography, such as horror, science fiction, or romantic comedy.
类型：由共有的内容、叙事结构、风格和图像志等惯例所界定的媒体文本类别，如恐怖片、科幻片或浪漫喜剧。
Conventions: The familiar and expected elements that characterise a particular genre, including technical codes (lighting, camerawork), symbolic codes (colours, props), and narrative patterns (e.g., the final girl in horror).
惯例：标志某一特定类型的熟悉且被期待的元素，包括技术编码（灯光、摄影）、象征编码（色彩、道具）和叙事模式（如恐怖片中的“最后一个女孩”）。
Iconography: The visual images and symbols that are typical of a genre, instantly recognisable by audiences (e.g., cowboy hats and six-shooters in a Western, spaceships in sci-fi).
图像志：某一类型中典型的视觉图像与符号，能被观众立即识别（如西部片中的牛仔帽和左轮手枪，科幻片中的宇宙飞船）。
Hybrid Genre: A media text that blends conventions from two or more distinct genres to create something new, such as a horror-comedy (Shaun of the Dead) or a sci-fi thriller.
混合类型：将两种或以上不同类型的惯例融合，创造出新的媒体文本，如恐怖喜剧（《僵尸肖恩》）或科幻惊悚片。
Genre Cycles: Genres go through stages of innovation, classic realisation, and
Published by TutorHao | Year 10 媒体 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