Core Media Studies Concepts for Year 7 SQA | Year 7 SQA 媒体核心知识点梳理

📚 Core Media Studies Concepts for Year 7 SQA | Year 7 SQA 媒体核心知识点梳理

Understanding media is about learning how messages are created, shaped, and shared across different platforms. In Year 7 SQA Media, you will explore the key ideas that help you become a critical consumer and a creative producer of media content. This article breaks down the essential concepts you need to know, from analysing a film poster to thinking about who made a social media post and why.

理解媒体就是要学会信息是如何在不同平台上被创造、塑造和传播的。在 Year 7 SQA 媒体课程中，你将探索一些核心观念，这些观念能帮助你成为一位有批判力的媒体消费者和有创造力的内容生产者。本文将梳理你需要掌握的关键知识点，从分析一张电影海报，到思考一条社交媒体帖子是由谁制作、出于什么目的。

1. Media Forms and Platforms | 媒体形式与平台

Media forms are the different categories of media, such as film, television, music, video games, newspapers, magazines, and online social platforms. Each form uses a unique combination of sounds, images, and words to communicate. For example, a podcast relies heavily on voice and sound effects, whereas a magazine cover combines photography, headlines, and colour to grab attention.

媒体形式是指不同类型的媒体，例如电影、电视、音乐、电子游戏、报纸、杂志和在线社交平台。每一种形式都运用独特的声音、图像和文字组合来传递信息。例如，播客主要依赖人声和音效，而杂志封面则结合摄影、标题和色彩来吸引眼球。

A platform is the technology or service that distributes the media form, like Netflix for films, Spotify for music, or YouTube for video. In Year 7, you need to identify how the platform affects the way we experience a media text. A film watched in a cinema feels very different from the same film streamed on a phone.

平台是分发媒体形式的技术或服务，比如播放电影的 Netflix、听音乐的 Spotify 或者看视频的 YouTube。在七年级，你需要识别平台如何影响我们对媒体文本的体验。在影院观看的电影与在手机上播放的同一部电影会带来非常不同的感受。

Key media forms: print, broadcast, digital, and outdoor.
主要媒体形式：印刷媒体、广播媒体、数字媒体和户外媒体。
Platforms shape how we access and interact with media (e.g., binge-watching vs. weekly episodes).
平台塑造了我们获取媒体并与之互动的方式（例如，一次性刷完整季与每周追剧）。

2. Sign, Code, and Convention | 符号、代码与惯例

Every media text is built using signs – anything that carries meaning, such as a word, an image, a sound, or a gesture. In media studies, we break down signs into the ‘signifier’ (the form we see or hear) and the ‘signified’ (the concept it represents). A red rose, for instance, is a signifier that often signifies love or romance.

每一则媒体文本都是由符号构建而成的——符号是任何携带意义的东西，比如一个词语、一幅图像、一个声音或一个手势。在媒体研究中，我们将符号分解为“能指”（我们看到或听到的形式）和“所指”（它所代表的概念）。例如，一朵红玫瑰是能指，通常象征着爱情或浪漫。

Codes are systems of signs that create meaning. Technical codes include camera angles, lighting, and editing. Symbolic codes include body language, colour, and clothing. Conventions are the expected ways these codes are used in a particular genre. For example, a news broadcast convention is a presenter looking directly at the camera and speaking in a serious tone.

代码是创造意义的符号系统。技术代码包括镜头角度、灯光和剪辑。象征代码包括肢体语言、颜色和服装。惯例则是在特定类型中这些代码被使用的预期方式。例如，新闻播报的一个惯例是主播直视镜头并用严肃的语气说话。

Code Type 代码类型	Example 示例
Technical 技术代码	Low-angle shot to show power; 仰拍镜头表现力量
Symbolic 象征代码	Dark lighting suggesting mystery; 暗调灯光暗示神秘
Written 书写代码	Bold headlines for importance; 粗体标题表示重要

3. Audience and Reception | 受众与接收

Media texts are always made with an audience in mind. An audience can be described by demographics such as age, gender, income, and location, or by psychographics such as interests, values, and lifestyle. For example, a teen magazine might target 13–17-year-old girls who enjoy pop music and fashion.

媒体文本总是为特定的受众制作的。受众可以用人口统计特征来描述，例如年龄、性别、收入和地点；也可以用心理统计特征来描述，例如兴趣、价值观和生活方式。例如，一本青少年杂志的目标受众可能是喜欢流行音乐和时尚的13至17岁女孩。

The way an audience interprets a text is not always fixed. The ‘preferred reading’ is the meaning the producer intends, but audiences can also have a ‘negotiated reading’ or even an ‘oppositional reading’ when they reject the intended message. A charity advertisement might want you to feel sympathy (preferred reading), but some viewers might feel annoyed and ignore it (oppositional reading).

受众解读文本的方式并不总是固定的。“偏好解读”是制作人预期的含义，但受众也可能产生“协商解读”，甚至当他们拒绝接受预期信息时产生“对抗解读”。一则慈善广告可能希望你感到同情（偏好解读），但有些观众可能会觉得厌烦并忽视它（对抗解读）。

Active audience: viewers select, use, and interpret media for their own needs.
主动受众：观众根据自己的需求选择、使用和解读媒体。
Passive audience: the idea that media can inject ideas directly into a passive mind, though this view is now less common.
被动受众：认为媒体可以直接将观念注入被动大脑的观点，不过现在这种观点已不那么普遍。

4. Representation and Stereotypes | 再现与刻板印象

Representation is how media texts portray people, places, events, and ideas. No representation is entirely neutral; it is always a constructed version of reality. When we study representation, we ask questions like: Who is included? Who is left out? How are groups shown, and does that reinforce or challenge social norms?

再现是指媒体文本如何描绘人物、地点、事件和观念。任何再现都不是完全中立的，它始终是对现实的一种建构性版本。当我们研究再现时，我们会提出这样的问题：谁被包含了？谁被忽略了？群体是如何被表现的？这强化还是挑战了社会规范？

Stereotypes are simplified, exaggerated representations of a group, often based on assumptions about gender, ethnicity, age, or ability. While stereotypes can be harmful, media can also use counter-stereotypes to challenge expectations. For example, a female action hero who is both strong and intelligent breaks the stereotype of women needing rescue.

刻板印象是对某一群体被简化和夸大的再现，通常基于对性别、族裔、年龄或能力的假设。虽然刻板印象可能带来伤害，但媒体也可以使用反刻板印象来挑战既有观念。例如，一位既强壮又聪明的女性动作英雄，就打破了女性需要被拯救的刻板印象。

Keep an eye on how characters are framed: costumes, dialogue, camera angles, and lighting all contribute to representation. A villain might be shown in shadows with harsh music, while a hero appears in bright light and uplifting sound.

请留意人物是如何被塑造的：服装、对白、镜头角度和灯光都在构建再现效果。一个反派可能会被置于阴影中并配上刺耳的音乐，而英雄则出现在明亮的光线和振奋人心的声音里。

5. Narrative Structure and Storytelling | 叙事结构与故事讲述

Narrative is the way a story is organised and told. Even short adverts have a narrative structure. The most common model is Todorov’s equilibrium theory: a state of calm (equilibrium) is disrupted by an event (disequilibrium), and the story moves towards a new balance (new equilibrium). A washing powder advert often shows a stained shirt (disruption), the product in use, and finally a clean, happy family (new equilibrium).

叙事是故事组织和讲述的方式。即便是简短的广告也有叙事结构。最常见的模型是托多罗夫的平衡理论：一个平静的状态（平衡）被某事件打破（失衡），故事最终走向一种新的平衡（新平衡）。一则洗衣粉广告常常先展示一件弄脏的衬衫（失衡），然后使用该产品，最终呈现干净、幸福的家庭画面（新平衡）。

Other narrative elements include character types such as the hero, the villain, the donor (who gives something helpful), and the dispatcher (who sends the hero on a quest). The way a narrative is paced, whether through flashbacks, cliff-hangers, or parallel storylines, affects how audiences feel and stay engaged.

其他叙事元素包括角色类型，例如英雄、反派、给予者（提供帮助的人）和派遣者（让英雄去完成任务的人）。叙事节奏的处理方式，无论是通过倒叙、悬念还是平行故事线，都会影响观众的情绪和投入程度。

Linear narrative: events are shown in chronological order.
线性叙事：事件按时间顺序呈现。
Non-linear narrative: uses flashbacks or time jumps, as in many video games.
非线性叙事：使用倒叙或时间跳跃，正如许多电子游戏那样。

6. Genre and Hybridity | 类型与混合类型

Genre is a way of grouping media texts that share similar conventions, themes, and styles. Recognising genre helps audiences choose what to watch and helps producers market their work. A horror film, for example, uses conventions like dark settings, eerie music, and a monster or threat to create fear. The repetition of these elements is what defines the genre.

类型是依据相似的惯例、主题和风格对媒体文本进行归类的一种方式。辨认类型有助于受众选择观看内容，也有利于制作方推广作品。例如，恐怖片通常运用黑暗场景、怪异的音乐以及怪物或威胁等惯例来制造恐惧。正是这些元素的重复出现定义了该类型。

However, genres are not fixed boxes. Many modern texts are hybrids that mix two or more genres. A romantic comedy combines the emotional journey of a romance with the humour and happy ending of a comedy. A science-fiction action film blends futuristic technology with physical stunts and fights. Understanding hybridity helps you appreciate how media evolves.

然而，类型并不是固定的框框。许多现代文本是混合类型，融合了两种或多种类型的元素。一部浪漫喜剧将爱情片的情感历程与喜剧的幽默和美满结局结合在一起。科幻动作片则融合了未来科技与肢体打斗。理解混合类型有助于你欣赏媒体是如何演变的。

Think about gaming: a survival horror game like Resident Evil mixes action, puzzle-solving, and horror conventions to keep players engaged on multiple levels.

想一想游戏：《生化危机》这类生存恐怖游戏混合了动作、解谜和恐怖惯例，在多个层面上吸引玩家。

7. Media Institutions and Industry | 媒体机构与产业

Media institutions are the organisations that create and distribute media texts. They include large conglomerates like the BBC, Disney, or Nintendo, as well as smaller independent studios. An institution’s ownership affects what content is produced and how it reaches audiences. A public service broadcaster like the BBC has a remit to inform, educate, and entertain, and is funded by the licence fee, not advertising.

媒体机构是制作和分发媒体文本的组织。它们包括像 BBC、迪士尼或任天堂这样的大型集团，也包括较小的独立工作室。机构的所有制会影响制作什么内容以及如何触达受众。像 BBC 这样的公共服务广播公司，其职责是提供信息、教育和娱乐，并通过收视许可费而非广告收入来获得资金。

Commercial institutions rely on advertising or subscriptions. Their main goal is to attract large audiences to sell to advertisers, or to keep subscribers paying. This can influence the types of stories told; for example, a commercial channel might prefer feel-good reality shows over challenging documentaries because they attract bigger ratings.

商业机构则依赖广告或订阅收入。它们的主要目标是吸引大量观众后将其售卖给广告商，或者让订阅者持续付费。这会影响到所讲述的故事类型；例如，商业频道可能更青睐令人轻松愉悦的真人秀，而非具有挑战性的纪录片，因为前者能带来更高的收视率。

Conglomerate: a large company that owns many smaller media businesses (e.g., Warner Bros. Discovery).
集团：拥有多家较小媒体业务的大型公司（例如华纳兄弟探索公司）。
Independent studio: a smaller company not owned by a conglomerate, often able to take more creative risks.
独立制作公司：不被集团拥有的小公司，通常能承担更多创意上的风险。

8. Media Language and Visual Techniques | 媒体语言与视觉技法

Media language is the specific way media texts communicate through visuals, sounds, and layout. A key concept is mise-en-scène, which refers to everything placed in front of the camera: setting, props, costume, hair and make-up, lighting, and the arrangement of actors. All these elements work together to create meaning. A scene set in a messy bedroom with dim lighting suggests a character is unhappy or careless.

媒体语言是指媒体文本通过视觉、声音和布局进行交流的特定方式。一个关键概念是场面调度，指的是摄像机前布置的一切：场景、道具、服装、发型和化妆、灯光以及演员的安排。所有这些元素共同作用来创造意义。如果场景设定在一间灯光昏暗的凌乱卧室里，则暗示角色可能不快乐或粗心大意。

Camera techniques include shot types such as close-up, medium shot, and long shot, each affecting how we relate to a character. A close-up reveals emotions, while a long shot establishes the environment. Camera angles, such as a high-angle shot looking down, can make a character appear small and vulnerable. Movement, like a tracking shot, adds energy and guides our attention.

拍摄技法包括镜头类型，例如特写、中景和远景，每一种都影响着我们与角色的关系。特写可以揭示情感，而远景则用来交代环境。镜头角度，例如俯拍的高角度镜头，会让角色显得渺小和脆弱。镜头运动，如跟拍镜头，则增加了活力并引导我们的注意力。

Editing shapes the pace and rhythm of a text. Fast cuts create excitement, while a long take can build tension. Sound, whether diegetic (sounds the characters can hear, like footsteps) or non-diegetic (soundtrack added for the audience, like a dramatic score), layers emotional meaning onto the images.

剪辑塑造了文本的节奏和韵律。快速切换能制造兴奋感，而一个长镜头则可以营造紧张气氛。声音，不管是从属于画面的（角色能听到的声音，如脚步声）还是非从属性的（为观众添加的配乐，如戏剧性背景音乐），都会为画面增添情感内涵。

9. Production and Creative Choices | 制作与创意选择

Creating a media product, even a simple one, involves a production process. The typical stages are pre-production (planning, scripting, storyboarding), production (filming, recording, designing), and post-production (editing, adding sound, final touches). In Year 7, you might plan a short video, a podcast, or a magazine page, and your choices at each stage affect the final meaning.

创作媒体产品，哪怕很简单，也需要经历一个制作过程。典型阶段包括前期制作（规划、写脚本、画故事板）、制作（拍摄、录音、设计）和后期制作（剪辑、添加声音、最后润色）。在七年级，你可能会策划一段短视频、一档播客或一页杂志版面，而你在每个阶段做出的选择都会影响最终的传达效果。

Casting, lighting, script, and sound effects are all creative choices that convey a message. If you are designing a campaign poster to encourage recycling, your choice of green colour, a clear slogan, and an image of a smiling child can create a positive, hopeful tone. A scary poster for a school play might use dark reds, a jagged font, and a shadowy silhouette.

选角、灯光、脚本、音效等都是传递信息的创意选择。如果你正在设计一张鼓励回收利用的宣传海报，选择绿色、清晰的标语和一张微笑的孩子的图片，就能营造出积极、充满希望的氛围。而为学校戏剧设计的恐怖海报则可以运用暗红色调、锯齿形字体和阴暗的剪影。

Always keep your target audience in mind during production. A poster for Year 7 pupils might use slang and bold cartoons, while a letter to parents would use formal language and a different layout. Every production decision is an opportunity to shape meaning.

在制作过程中，务必牢记你的目标受众。一张面向七年级学生的海报可能会使用俚语和大胆的卡通形象，而给家长的信则会使用正式语言和不同的版式。每一个制作决定都是塑造意义的机会。

10. Media Influence and Critical Thinking | 媒体影响与批判性思维

Media has the power to influence how we see the world, other people, and ourselves. This can happen through agenda-setting (the media tells us what issues are important), framing (how an issue is presented), or through the cultivation of long-term beliefs. Seeing the same body image ideals repeatedly in social media can affect self-esteem – that is one way media exerts influence.

媒体有能力影响我们看待世界、他人和自己的方式。这种影响可以通过议程设置（媒体告诉我们哪些议题重要）、框架效应（议题如何被呈现）或长期信念的培养来实现。在社交媒体上反复看到同一种理想身材形象会影响自尊心——这就是媒体施加影响的一种方式。

Critical thinking means you don’t just accept media messages at face value. You ask questions: Who created this? What techniques are used to attract my attention? What lifestyles or values are being promoted? Whose voice is missing? A luxury car advert might link the car to success and freedom, but you can think about whether owning a car truly equals happiness.

批判性思维意味着你不只是表面接受媒体信息。你会提出问题：是谁制作了这个？使用了什么技巧来吸引我的注意？在宣传什么样的生活方式或价值观？谁的声音被忽略了？一则豪华汽车广告可能将汽车与成功和自由联系起来，但你可以思考拥有汽车是否真等于幸福。

Being media literate helps you make informed choices, resist manipulation, and even create your own responsible content. This skill is not just for exams; it is for life in a world flooded with images, videos, and persuasive messages.

具备媒介素养能帮助你做出明智的选择，抵制操纵，甚至创作出对自己负责任的内容。这项技能不仅用于考试，也适用于这个被图像、视频和带有说服力的信息所充斥的世界。

11. Analysing a Media Text: A Simple Framework | 分析媒体文本：一个简易框架

When you analyse any media text, you can follow a simple structure: describe, analyse, and evaluate. First, describe what you see, hear, and read – the key codes. Next, analyse the effect of these codes on the audience, connecting them to representation, genre, or narrative. Finally, evaluate the overall success or message of the text, considering the producer’s intention.

在分析任何媒体文本时，你可以遵循一个简单的结构：描述、分析和评价。首先，描述你看到、听到和读到的内容——也就是关键代码。然后，分析这些代码对受众产生的影响，并将它们与再现、类型或叙事联系起来。最后，评价文本的整体效果或信息，并考虑制作人的意图。

For example, take a film poster. Describe the central image, the colour scheme, the tagline, and the actors’ names. Analyse: the dark colours and serious facial expressions suggest an action thriller; the tagline ‘One man, one chance’ communicates urgency and a lone-hero narrative. Evaluate: the poster effectively targets fans of spy films, but it may rely too heavily on the famous actor’s image to sell the movie.

以一张电影海报为例。描述其中心图像、色彩方案、标语和演员名字。分析：暗色调和严肃的面部表情暗示这是一部动作惊悚片；标语“一人，一次机会”传达了紧迫感和孤胆英雄的叙事。评价：海报有效地瞄准了间谍片影迷，但它可能过度依赖著名演员的形象来拉动票房。

Use media terminology in your analysis – words like ‘close-up’, ‘low-key lighting’, ‘stereotype’, ‘narrative’, and ‘target audience’ will show your understanding. Practice by analysing any poster, short clip, or website you encounter.

在分析中使用媒体术语——比如“特写”、“低调灯光”、“刻板印象”、“叙事”和“目标受众”——这些能展示你的理解程度。通过分析你遇到的任何海报、短片或网站来练习。

12. Revision Summary: Key Terms to Remember | 复习要点：必记关键词

To succeed in Year 7 SQA Media, make sure you can confidently explain these terms and give an example for each: media form, platform, sign, code, convention, genre, representation, stereotype, narrative, equilibrium, audience, preferred reading, mise-en-scène, diegetic sound, and target audience. Flashcards and mind maps are great tools for memorising these.

要想在 Year 7 SQA 媒体课程中取得成功，请确保你能自信地解释以下术语，并为每个术语举出例子：媒体形式、平台、符号、代码、惯例、类型、再现、刻板印象、叙事、平衡、受众、偏好解读、场面调度、从属声音和目标受众。抽认卡和思维导图是记忆这些术语的好工具。

Link theory to real-life media: next time you watch a video, pause and think about the camera angle, who the intended audience is, and what representation is being shown. Regular practice will make the concepts second nature and prepare you not only for assessments but for a media-savvy future.

将理论与现实媒体联系起来：下次观看视频时，暂停一下，想想镜头角度、预期受众是谁、以及展示了怎样的再现。经常练习将使这些概念成为你的第二天性，并不仅为评估做好准备，也为成为一个精通媒体的人做好准备。

Published by TutorHao | Media Revision Series | aleveler.com

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Core Media Studies Concepts for Year 7 SQA | Year 7 SQA 媒体核心知识点梳理