📚 Edexcel A-Level Media Studies Essay Writing Framework and Model Essays | 爱德思 A-Level 媒体研究论文写作框架与范文
Writing a high-scoring essay in Edexcel A-Level Media Studies demands more than just describing a media text; it requires a structured argument that weaves together close textual analysis, relevant media theory, and precise contextual knowledge. This guide breaks down a proven writing framework, from deconstructing the question to crafting a powerful conclusion, and provides annotated model essays that demonstrate how to apply these techniques under exam conditions.
在爱德思 A-Level 媒体研究中撰写高分论文，需要的不仅仅是对媒体文本的描述；它要求你呈现一个有结构的论证，将细致的文本分析、相关的媒体理论和准确的语境知识融为一体。本指南分解了一个经过验证的写作框架，从解构问题到撰写有力的结论，并提供带注释的范文，展示如何在考试条件下应用这些技巧。
1. Understanding the Essay Requirements | 理解论文要求
In both AS and A-Level Components, extended response questions typically carry 15 or 20 marks and are assessed against three or four Assessment Objectives: AO1 (demonstrate knowledge and understanding of media concepts, contexts, and critical debates), AO2 (apply knowledge and understanding to analyse media products), and often AO3 (evaluate academic theories). The examiner expects a coherent, analytical argument rather than a descriptive list of features.
在 AS 和 A-Level 的考试部分中，长篇回答题通常占 15 或 20 分，并根据三到四个评估目标进行评分：AO1（展示对媒体概念、语境和批判性辩论的知识与理解），AO2（运用知识与理解分析媒体产品），通常还有 AO3（评估学术理论）。考官期望的是一段连贯的、分析性的论证，而不是对特征的描述性罗列。
High-band responses consistently feature a clear line of argument, judiciously selected supporting evidence from the set texts, and explicit engagement with theoretical frameworks. They also situate the text within its production and reception contexts. Remember that the quality of your written communication is also evaluated, so clarity and accurate terminology are essential.
高分段答案总是具有清晰的论证线索、从指定文本中审慎选取的支持证据，并明确与理论框架结合。它们还将文本置于其生产和接受语境之中。请记住，你的书面表达质量也是评估的一部分，因此清晰度和准确的术语至关重要。
2. Deconstructing the Question | 解构问题
Start by highlighting the command word: 'analyse', 'evaluate', 'discuss', or 'to what extent'. 'Evaluate' or 'to what extent' signals that you must arrive at a judgement, weighing up different perspectives. Next, identify the key concept in focus: representation, media language, audience, or industry. Finally, note any specified texts, theoretical approaches, or contexts you must address.
首先，圈出指令词：“analyse”、“evaluate”、“discuss”或“to what extent”。其中“evaluate”或“to what extent”意味着你必须做出判断，权衡不同观点。接下来，确定重点的关键概念：表征、媒体语言、受众或产业。最后，注意你必须回应的任何指定文本、理论方法或语境。
For example, a question such as 'Evaluate the usefulness of Stuart Hall's theory of representation in analysing the WaterAid Claudia audiovisual advert. To what extent does the advert challenge stereotypical representations of its subjects?' requires you to explain Hall's theory, show how it applies to specific moments in the advert, and judge both its usefulness and the degree to which stereotypes are challenged.
例如，像“评估斯图尔特·霍尔的表征理论在分析 WaterAid 的 Claudia 视听广告中的有效性。该广告在多大程度上挑战了对其主题的刻板印象？”这样的问题，要求你解释霍尔的理论，展示它如何应用于广告中的具体时刻，并判断其有效性以及刻板印象被挑战的程度。
3. Structuring Your Essay | 论文结构
A robust structure transforms scattered observations into a compelling argument. The most reliable template is: Introduction, 3–4 analytical body paragraphs, and a Conclusion. For comparative essays, you may choose an integrated approach in which each paragraph compares a shared aspect across texts, or a block approach devoting one section to each text before drawing comparisons in a final synthesis.
坚实的结构能将散乱的观察转化为令人信服的论证。最可靠的模板是：引言、3-4段分析性主体段落，以及结论。对于比较类的论文，你可以选择综合法——每段比较两篇文本的同一方面；或者模块法——先分别用几段分析每篇文本，再在最后的综合中进行比较。
Plan your paragraphs before you begin writing. Each paragraph must serve a distinct purpose: one might focus on technical codes, another on symbolic codes, and a third on the interplay between theory and context. This avoids repetition and ensures your argument develops progressively.
动笔前先规划段落。每个段落必须有明确的目的：一段可能聚焦于技术符码，另一段聚焦于象征符码，第三段探讨理论与语境的相互作用。这样能避免重复，并确保你的论证逐步深入。
4. Introduction: Hooking the Examiner | 引言：吸引考官
Your introduction should establish your line of argument immediately. Begin by rephrasing the question to show understanding, then state your overarching thesis – the judgement you will defend. Briefly introduce the set texts and the critical/theoretical lens you will apply, without diving into micro-analysis.
你的引言应当立刻确立你的论证脉络。首先，重述问题以显示理解，然后陈述你的总论点——你将捍卫的判断。简要介绍指定文本和你将运用的批判/理论视角，不要陷入微观分析。
An example opening for a representation essay: 'While the Tide print advertisement (1950s) visibly reinforces patriarchal ideologies through its construction of the domesticated housewife, the WaterAid Claudia advert (2016) appears to subvert global stereotypes of dependency. However, by applying Hall's theory of representation and a postcolonial reading, this essay will argue that both texts ultimately operate within commodified frames of identity, albeit shaped by contrasting social and cultural contexts.'
一篇关于表征的论文开头示例：“虽然 Tide 平面广告（1950年代）通过其对家庭主妇的构建明显强化了父权意识形态，但 WaterAid 的 Claudia 广告（2016年）似乎颠覆了关于依赖性的全球刻板印象。然而，通过运用霍尔的表征理论和解殖民主义的解读方法，本文将论证这两篇文本最终都在商品化的身份框架内运作，尽管它们受截然不同的社会文化背景所塑造。”
5. Body Paragraphs: PEEL Method | 主体段落：PEEL 方法
The PEEL structure – Point, Evidence, Explanation, Link – is the backbone of each analytical paragraph. State your Point clearly (e.g., 'The advert's cinematography constructs a subject position that aligns with Hall's oppositional reading'). Then provide precise Evidence: a shot description, a copy line, or a design element. Next, Explain how this evidence supports your point, using theoretical concepts. Finally, Link back to the question or forward to the next paragraph.
PEEL 结构——Point（观点）、Evidence（证据）、Explanation（解释）、Link（链接）——是每段分析文字的主干。清晰陈述你的观点（例如，“该广告的摄影术构建了一个与霍尔的对抗式解读相一致的主体位置”）。然后提供精确的证据：一个镜头描述、一句广告词或一个设计元素。接着解释这一证据如何支持你的观点，使用理论概念。最后，链接回问题或引出下一段。
In a paragraph on the Tide advert, you might write: 'The high-angle medium shot positions the female figure as the object of the spectator's gaze, reinforcing Mulvey's male gaze theory (Point). The camera looks down on her as she lovingly embraces the Tide box, her facial expression ecstatic (Evidence). This framing implies a pleasure derived from domestic duty that is offered for a male viewer's scopophilia, thus naturalising the gender hierarchy of 1950s America (Explanation). Such visual construction powerfully reflects the patriarchal context of production (Link).'
在关于 Tide 广告的段落中，你可能会写道：“高角度中景镜头将女性形象置于观看者凝视的对象位置，强化了穆尔维的男性凝视理论（观点）。镜头俯视着她，她深情地拥抱 Tide 盒子，面部表情欣喜若狂（证据）。这种取景暗示了从家务义务中获得的快感，这种快感被提供给男性观看者以服务于其窥视癖，从而将1950年代美国的性别等级制度自然化（解释）。这种视觉建构有力地反映了生产的父权语境（链接）。”
6. Integrating Media Theory | 整合媒体理论
The highest marks are awarded when theory is used as a tool for analysis, not as an ornament. Avoid introducing a theorist with a single sentence like 'According to Barthes...' and then moving on; instead, use their ideas to illuminate the text's construction of meaning. If you mention Levi-Strauss's binary oppositions, demonstrate which specific pairs are operating in the text and how they structure the narrative or ideological message.
当理论被用作分析工具而非装饰时，才能获得最高分。避免只用一句话引入理论家，比如“根据巴特……”，然后继续往下写；相反，要用他们的观点来阐明文本是如何建构意义的。如果你提到列维-斯特劳斯的二元对立，那就展示文本中哪些具体的对立对在起作用，以及它们如何构建叙事或意识形态信息。
For instance, when analysing Beyonce's 'Formation' music video, instead of stating 'This video can be analysed using hooks's intersectionality', you should argue: 'The video constructs a visual lexicon of black Southern femininity that interlaces gender, race, and class, exemplifying hooks's concept of intersectionality. The low-angle shots of a young black boy dancing in front of riot police construct a counter-hegemonic gaze that challenges institutional power, a reading deepened by the video's historical references to Hurricane Katrina and Creole culture.'
例如，在分析碧昂丝的《Formation》音乐视频时，不要说“这个视频可以用 hooks 的交织性理论分析”，而应该论证：“该视频构建了一套关于美国南方黑人女性气质的视觉词汇，将性别、种族和阶级交织在一起，体现了 hooks 的交织性概念。对一名在防暴警察面前跳舞的黑人男孩的低角度镜头，构建了一种对抗霸权的凝视，挑战了制度性权力，而视频对卡特里娜飓风和克里奥尔文化的历史指涉，加深了这种解读。”
7. Textual Analysis Essentials | 文本分析要点
Strong visual and verbal analysis requires precise media language. Use terms like 'close-up', 'shallow depth of field', 'diegetic sound', 'sans-serif typography', 'high-key lighting', 'mise-en-scene', and 'anchorage' accurately. Always connect these technical choices to the production of meaning. A high-angle shot is not just a fact; it signifies vulnerability or diminished power, depending on the context.
扎实的视觉和语言分析需要精确的媒体语言。准确使用“特写”、“浅景深”、“剧情声”、“无衬线字体”、“高调光”、“场面调度”和“锚定”等术语。始终将这些技术选择与意义的生成联系起来。高角度镜头不仅仅是一个事实；根据语境，它象征着脆弱或权力的削弱。
In an analysis of the 'Black Panther' film poster, you might note: 'The symmetrical, balanced composition centres T'Challa as a heroic figure, his upright posture and direct mode of address signifying power and agency. The predominantly black and silver colour palette, contrasted with the luminous purple accents of vibranium, encodes both technological futurism and Afrofuturist aesthetics, challenging the historically monolithic depictions of Africa in mainstream media.'
在分析《黑豹》电影海报时，你可能会注意到：“对称、平衡的构图将特查拉置于中心，作为英雄形象，他挺拔的姿态和直视观众的叙事方式象征着权力和能动性。以黑和银为主的色调，与振金发光的紫色点缀形成对比，编码了技术未来主义和非裔未来主义美学，挑战了主流媒体中历史上对非洲的单一描绘。”
8. Contextual Knowledge | 背景知识
Context is a crucial discriminator for top-level answers. For the Tide advert, demonstrate knowledge of 1950s post-war consumerism, the rise of the American middle class, and the cult of domesticity. For WaterAid, reference the shift from 'pity' to 'dignity' charity campaigns, global development frameworks, and the BBC broadcasting context. Context should not be bolted on; it should be woven into your analysis to explain why certain representational choices were made.
语境是区分顶尖答案的关键因素。对于 Tide 广告，展示你对1950年代战后消费主义、美国中产阶级崛起和家庭生活崇拜的了解。对于 WaterAid，提及慈善活动从“怜悯”到“尊严”的转变、全球发展框架以及 BBC 的广播语境。语境不应是附加说明，而应融入你的分析，来解释为何做出某些表征选择。
For a contemporary music video like 'Riptide', you could discuss the context of independent production, postmodern aesthetics, and the music industry in the digital age. By linking the fragmented, disjunctive editing to cultural anxieties about gender violence, you show how the text both reflects and shapes its social context.
对于像《Riptide》这样的当代音乐视频，你可以讨论独立制作、后现代美学以及数字时代的音乐产业等语境。通过将碎片化、断裂的剪辑与对性别暴力的文化焦虑联系起来，你展示了文本如何既反映又塑造其社会语境。
9. Conclusion: Synthesis and Significance | 结论：综合与意义
Your conclusion must not simply repeat previous points. Instead, synthesise your findings to deliver a final, judicious verdict that directly answers the question. Refer back to the key terms in the question and emphasise the significance of your argument. For 'to what extent' questions, clearly state the extent, acknowledging any limitations or counter-arguments.
结论不应简单重复前面各点。相反，要综合你的发现，给出一个最终的、审慎的判决，直接回答问题。回扣问题中的关键术语，并强调你论证的意义所在。对于“多大程度上”的问题，明确说明程度，承认任何局限或反方论点。
An effective conclusion for a representation essay might read: 'Ultimately, while the WaterAid advert disrupts conventional charity representations by granting Claudia a voice and visual centrality, its narrative resolution – the arrival of clean water – still relies on the external intervention of the Western charity, thus partially reinstating a dependency narrative. In contrast, the Tide advert's ideological operation is more univocal, secure in its patriarchal assumptions. Both texts, therefore, illustrate that representations are always a site of negotiation between dominant ideologies and emergent social values, as Hall's theory suggests.'
一篇关于表征的有效结论可以这样写：“归根结底，虽然 WaterAid 广告通过赋予 Claudia 话语权和视觉中心性，颠覆了传统的慈善表征，但其叙事解决方式——清洁用水的到来——仍然依赖于西方慈善机构的外部干预，因此在一定程度上重新确立了依赖叙事。相比之下，Tide 广告的意识形态运作更为单一，牢固地建立在父权假设之上。因此，这两篇文本都表明，正如霍尔的理论所指出的，表征始终是主导意识形态与新兴社会价值观之间协商的场所。”
10. Model Essay 1: Representation (Tide and WaterAid) | 范文1：表征（Tide 与 WaterAid）
Question: 'Compare how the Tide print advertisement and the WaterAid Claudia audiovisual advertisement construct representations of their subjects to appeal to their target audiences. To what extent do these representations reflect the social contexts of production?'
问题：“比较 Tide 平面广告和 WaterAid Claudia 视听广告如何构建其主体的表征以吸引目标受众。这些表征在多大程度上反映了生产的社会语境？”
The Tide advertisement, produced in the 1950s by Procter & Gamble, constructs an idealised representation of femininity that is entirely articulated through domestic labour. The central female figure – dressed in a neatly ironed white blouse, her hair meticulously pinned – performs the role of a devoted housewife. Her direct gaze and warm smile, combined with the tightly framed shot that excludes any background context, create a sense of intimate, aspirational immediacy. Roland Barthes' concept of myth is highly useful here; the advert transforms a mundane chore into a signifier of love and maternal duty, thereby naturalising the patriarchal ideology of the nuclear family. The anchorage of the copy – 'Tide's got what women want!' – presumes a homogeneous female audience whose desires are fulfilled by cleaning products, reinforcing the era's Cult of Domesticity. This representation was perfectly attuned to the post-war American context, which encouraged women to return to the private sphere after wartime employment, bolstered by advertisers who targeted the growing middle-class consumer.
Tide 广告由宝洁公司于1950年代制作，构建了一种完全通过家务劳动来表述的理想化的女性气质表征。画中核心女性形象——身穿熨烫平整的白色衬衫，头发精心盘起——扮演着一个尽职的家庭主妇角色。她直视的目光和温暖的微笑，加上裁剪紧凑、排除任何背景的取景，营造出一种亲密、令人向往的即时感。罗兰·巴特的神话概念在此极具解释力；广告将平凡的家务劳动转化为爱情与母职的能指，从而将核心家庭的父权意识形态自然化。广告文案的锚定——“Tide 拥有女性想要的一切！”——预设了一个同质化的女性受众群体，其渴望由清洁产品满足，强化了那个时代的家庭生活崇拜。这种表征完美契合了战后美国的语境，这一语境鼓励女性在战时就业后回归私人领域，并受到针对日益增长的中产阶级消费者的广告商推动。
In sharp contrast, the WaterAid Claudia advertisement (2016), broadcast on BBC and produced by an international charity, subverts traditional 'poverty porn' representations of Africa. Claudia, a young Zambian woman, is introduced through an intimate close-up, her voice-over singing 'Sunshine on a Rainy Day' – a Western pop song – immediately establishing her agency and cultural hybridity. The advert employs a warm, high-key lighting setup and a muted pastel colour palette, deliberately avoiding the de-saturated, bleak imagery often associated with charitable appeals. bell hooks' concept of 'oppositional gaze' can be applied here: Claudia's intermittent direct address to the camera challenges the spectator's power to objectify her. Moreover, David Gauntlett's theory of identity as a project is evident; Claudia is constructed as an active individual working towards a better future, not a passive victim. However, it is crucial to note that the closing shots – showing the operational water pump and children playing – still resolve the narrative through the infrastructure provided by the charity, indicated by the final title card. Thus, while the social context of 2016 demanded a more ethical, dignity-oriented representation, the advert ultimately operates within a commodified aid discourse, aligning with a liberal humanist, rather than structural, critique of poverty.
与此形成鲜明对比的是 WaterAid 的 Claudia 广告（2016年），该广告在 BBC 播出，由一家国际慈善机构制作，颠覆了传统上对非洲的“贫困色情”表征。Claudia 是一位年轻的赞比亚女性，通过一个亲密的特写镜头引入，她的画外音唱着《Sunshine on a Rainy Day》——一首西方流行歌曲——立即确立了她的能动性和文化杂糅性。广告使用了温暖的高调光和柔和的粉彩色调，刻意避免了通常与慈善诉求相关的低饱和度、凄凉意象。bell hooks 的“对抗性凝视”概念可应用于此：Claudia 间或直视镜头，挑战了观众物化她的权力。此外，大卫·冈特利特关于身份作为一项工程的理论在此非常明显；Claudia 被构建为一位为更美好未来努力的积极个体，而非被动受害者。然而，必须指出的是，结尾镜头——展示运转的水泵和玩耍的儿童——仍然通过慈善机构提供的基础设施解决了叙事问题，最终字幕卡也说明了这一点。因此，尽管2016年的社会语境要求一种更具伦理的、以尊严为导向的表征，该广告最终仍是在一种商品化的援助话语中运作，采取的是一种自由人本主义而非结构性的贫困批判立场。
In conclusion, both adverts mould their subjects' representations to fit their institutional purposes and target audiences, but they reflect markedly different ideological frameworks rooted in their respective social contexts. The Tide advert univocally reinforces patriarchal domesticity in 1950s consumer culture, whereas the WaterAid advert navigates a complex negotiation between empowering representation and the charitable plea, only partially escaping the dependency frame. As Hall's representation theory highlights, these texts are sites of contestation where meaning is never entirely fixed, yet heavily conditioned by the history and economy of their production.
总而言之，两则广告都塑造了其主体的表征以适应其机构目的和目标受众，但它们反映了根植于各自社会语境的明显不同的意识形态框架。Tide 广告在1950年代的消费文化中单一地强化了父权式的家庭生活，而 WaterAid 广告则在赋权的表征与慈善诉求之间进行着复杂的协商，只是部分挣脱了依赖框架。正如霍尔的表征理论所强调的，这些文本是充满争辩的场所，意义从未被完全固定，却又深受其生产历史与经济状况的制约。
11. Model Essay 2: Media Language (Formation and Riptide) | 范文2：媒体语言（Formation 与 Riptide）
Question: 'Analyse how media language in the music videos for Beyonce's 'Formation' and Vance Joy's 'Riptide' constructs meaning. Refer to detailed examples from both videos in your response.'
问题：“分析碧昂丝的《Formation》和 Vance Joy 的《Riptide》音乐视频中的媒体语言如何建构意义。在你的回答中请参考两个视频的详细例子。”
Beyonce's 'Formation' (2016) deploys a rich, polysemic media language that constructs a radical political statement about black identity, womanhood, and Southern American heritage. The opening sequence immediately establishes a hyperreal lexicon: a stationary long-take frames the singer crouched on a police car semi-submerged in floodwater, unmistakably referencing the aftermath of Hurricane Katrina and the government's neglect of predominantly black communities. Roland Barthes' notion of punctum operates here; the shocking, almost surreal image pricks the viewer, generating a network of connotations around systemic racism. Throughout the video, rapid montage editing juxtaposes shots of historical plantation houses with contemporary scenes of street dance, employing Levi-Strauss's binary oppositions (past/present, opulence/poverty) to critique the enduring legacies of colonialism. The use of fisheye lenses and low-angle cinematography in scenes of black men and children performing everyday acts of joy functions as a counter-gaze that re-centres black subjectivity, resonating with hooks's theory of the oppositional look.
碧昂丝的《Formation》（2016年）运用了丰富的、多义的媒体语言，构建了关于黑人身份、女性气质和美国南方遗产的激进政治声明。开场段落立即建立了一种超现实的词汇：一个固定的长镜头框取歌手蹲在一辆半浸在洪水中的警车上，明确指涉了卡特里娜飓风的后果以及政府对以黑人为主的社区的漠视。罗兰·巴特的“刺点”概念在此发挥作用；这一令人震惊、近乎超现实的图像刺痛了观众，生成了关于系统性种族主义的连串内涵。整个视频中，快速蒙太奇剪辑将历史种植园房屋的镜头与街头舞蹈的当代场景并置，运用列维-斯特劳斯的二元对立（过去/现在、富裕/贫困）来批判殖民主义的持久遗留。在捕捉黑人男女和儿童进行日常欢乐行为的场景中，鱼眼镜头和低角度摄影术作为一种对抗性凝视发挥作用，重新以黑人主体性为中心，与 hooks 的对抗性观看理论产生共鸣。
Contrastingly, Vance Joy's 'Riptide' (2013) employs a fragmented, disjunctive media language characteristic of postmodern independent production. The video deliberately rejects cohesive narrative, instead assembling a collage of loosely connected, often ironic images: a woman singing with a distorted mouth, a handgun aimed at the camera, hazy beach scenes. This pastiche aligns with Baudrillard's concept of simulation, where signs refer primarily to other media texts rather than reality. The lo-fi, Super 8mm film aesthetic, signalled by grain, flickering light leaks, and overexposed highlights, constructs a nostalgic, voyeuristic mode of address that positions the audience as a detached observer. Crucially, the layering of seemingly idyllic coastal imagery with disturbing motifs – such as the repeated shots of a woman's body part being surgically marked – creates a semiotic tension that connotes the subtext of violence against women, made more unsettling by its juxtaposition with the song's upbeat indie pop sound. This use of disjunctive sound-image relationship (a type of contrapuntal sound) challenges the audience to actively decode the text's darker meanings, reflecting Umberto Eco's notion of the 'open' text.
相比之下，Vance Joy 的《Riptide》（2013年）采用了后现代独立制作特有的碎片化、断裂的媒体语言。该视频刻意拒绝连贯叙事，转而组装了一组松散连接、常常是讽刺的图像拼贴：一位嘴部变形歌唱的女子、一把指向镜头的手枪、朦胧的海滩场景。这种大杂烩与波德里亚的拟像概念相符，其中符号主要指向其他媒体文本而非现实。低清、Super 8mm 电影质感，以颗粒感、闪烁的漏光斑和过曝的高光为特征，构建了一种怀旧、窥视式的叙事方式，将观众定位为疏离的观察者。至关重要的是，看似田园诗般的海岸意象与令人不安的母题——如反复出现的女性身体部位被手术标记的镜头——的层叠，创造了一种符号学的张力，暗示着针对女性之暴力的潜文本，而它与该歌曲欢快的独立流行音乐声并置，更添不安感。这种断裂的声画关系（一种对位式声音的运用）挑战观众主动解码文本的深层意义，反映了安伯托·艾柯的“开放”文本概念。
Both videos, although stylistically divergent, rely on the symbolic power of media language to anchor their ideological projects. 'Formation' uses a dense network of cultural codes to construct an affirming, politically charged black identity, whereas 'Riptide' deploys postmodern pastiche to unsettle and critique the normalisation of gendered violence. In each case, the manipulation of cinematography, editing, mise-en-scene and sound directly produces complex layers of meaning, rewarding active audience engagement.
两个视频虽然风格迥异，但都依赖于媒体语言的象征力量来锚定其意识形态工程。《Formation》使用密集的文化符码网络来构建一种肯定的、充满政治色彩的黑人身份，而《Riptide》则运用后现代的大杂烩手法来扰乱并批判性别暴力的常态化。在每个案例中，对摄影、剪辑、场面调度和声音的操控直接生成了复杂的意义层次，嘉奖了主动的受众参与。
12. Common Pitfalls and Revision Tips | 常见误区与复习技巧
Avoid these frequent mistakes: describing what you see without explaining what it means and how it connects to theory; using theory as a checklist rather than a tool; ignoring the specific question context and drifting into pre-prepared thematic rambles; and neglecting to reference precise examples from the set texts. Also, never write a conclusion that is merely a summary; you must deliver a clear, substantiated judgement.
避免这些常见错误：描述你所看到的，却不解释其意义以及如何与理论
Published by TutorHao | Year 12 媒体 Revision Series | aleveler.com
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