Year 7 Cambridge Media Formula & Theorem Quick Reference Handbook | Year 7 剑桥媒体：公式定理速查手册

📚 Year 7 Cambridge Media Formula & Theorem Quick Reference Handbook | Year 7 剑桥媒体：公式定理速查手册

This quick reference handbook collects the essential “formulas” and key theories you will encounter in Year 7 Cambridge Media Studies. Like a maths formula sheet, it gives you the building blocks to analyse any media text — from film posters to short videos. Use it to decode meaning, understand production choices, and explain how media messages are constructed.

这本速查手册汇集了 Year 7 剑桥媒体课程中你会遇到的必备“公式”与关键理论。就像数学公式表一样，它为你提供了分析任何媒介文本——从电影海报到短视频——的基本构件。用它来解读含义、理解制作选择，并解释媒介信息是如何被构建的。

1. Media Language: Semiotics | 媒体语言：符号学

Semiotics is the study of signs and symbols. Every media text is made of signs that have two parts: the signifier (the physical form) and the signified (the mental concept). Together they create meaning. For example, a red rose (signifier) can signify love or romance (signified).

符号学是研究符号的学问。每一个媒介文本都由符号组成，符号有两个部分：能指（物理形式）和所指（心理概念）。它们共同创造意义。例如，一朵红玫瑰（能指）可以意指爱情或浪漫（所指）。

Sign = Signifier + Signified | 符号 = 能指 + 所指

Signifier (Denotation) → Signified (Connotation) | 能指（外延） → 所指（内涵）

Denotation is the literal meaning (what you actually see), while connotation is the associated meaning (what it suggests). In media analysis, always move from denotation to connotation.

外延是字面意义（你实际看到的东西），而内涵是关联意义（它暗示的东西）。在媒介分析中，始终要从外延走向内涵。

2. Camera Shots and Angles | 镜头与角度

Camera shots and angles are the basic vocabulary of film and television. The type of shot controls how much of the subject or scene we see, and the angle can influence how we feel about a character.

镜头景别和角度是电影与电视的基本词汇。景别控制我们看到被摄主体或场景的多少，而角度可以影响我们对角色的感受。

Extreme Long Shot (ELS) ← Long Shot (LS) ← Medium Shot (MS) → Close-Up (CU) → Extreme Close-Up (ECU) | 极远景 ← 远景 ← 中景 → 特写 → 大特写

Extreme Long Shot (ELS): Shows a vast landscape or setting; the character is tiny. Often used to establish location.

极远景 (ELS)：展示广阔的风景或场景；人物非常小。常用于交代地点。
Long Shot (LS): Shows the full figure of a person and their surroundings.

远景 (LS)：展示人物的全身及周围环境。
Medium Shot (MS): Shows a person from the waist up; common for dialogue.

中景 (MS)：展示人物腰部以上；常用于对话。
Close-Up (CU): Shows a face or an object in detail; reveals emotion.

特写 (CU)：详细展示面部或物体；揭示情感。
Extreme Close-Up (ECU): Shows a very small detail, e.g., an eye or a key.

大特写 (ECU)：展示极小的细节，如一只眼睛或一把钥匙。

Camera angle creates power dynamics. A high angle shot looks down on a subject, making them appear small or weak. A low angle shot looks up, making a subject appear powerful or threatening. An eye-level shot suggests equality.

摄像机角度创造权力关系。俯拍镜头向下看被摄对象，使其显得渺小或弱小。仰拍镜头向上看，使对象显得强大或有威胁。平视镜头则暗示平等。

High Angle → Subject seems weak | Low Angle → Subject seems powerful | 俯角 → 主体显得弱小 | 仰角 → 主体显得强大

3. Camera Movement | 镜头移动

Camera movement adds dynamism and guides the audience’s attention. The main types are pan, tilt, track, and zoom.

镜头移动增添了动感并引导观众的注意力。主要类型有摇镜、俯仰镜、推轨和变焦。

Pan: The camera turns horizontally from a fixed position. Like shaking your head ‘no’.

摇镜：摄像机从固定位置水平转动。就像左右摇头。
Tilt: The camera tilts vertically up or down. Like nodding ‘yes’.

俯仰镜：摄像机垂直向上或向下倾斜。就像点头。
Track (or Dolly): The entire camera moves along a track or is pushed on wheels, following a subject.

推轨（或移动车）：整台摄像机沿着轨道移动或用轮子推行，跟随被摄对象。
Zoom: The lens adjusts from wide to telephoto, magnifying the subject without moving the camera.

变焦：镜头从广角调整为长焦，在不移动摄像机的情况下放大被摄对象。

A zoom in can emphasise a detail or a character’s realisation, while a zoom out often reveals a wider context or creates a sense of isolation.

推近可以强调细节或人物的领悟，而拉远则常常揭示更广阔的背景或营造孤独感。

4. Editing Techniques | 剪辑技巧

Editing is the process of selecting and combining shots to create a sequence. The most common transition is the cut, but there are several others that carry meaning.

剪辑是选择并组合镜头以创建序列的过程。最常见的转场是切，但还有其他几种承载意义的转场方式。

Cut → Fade → Dissolve → Wipe | 切 → 淡入淡出 → 叠化 → 划像

Cut: An instantaneous change from one shot to another. The basic building block of editing.

切：从一个镜头瞬间切换到另一个镜头。剪辑的基本构建块。
Fade: A gradual transition to or from black (fade out / fade in). Suggests a passage of time or an ending.

淡入淡出：逐渐过渡到黑色或从黑色出现（淡出/淡入）。暗示时间的流逝或结束。
Dissolve: One shot gradually replaces another, with the two overlapping briefly. Often used for montages or to show a connection.

叠化：一个镜头逐渐取代另一个，两者短暂重叠。常用于蒙太奇或展示联系。
Wipe: A line moves across the screen, replacing one shot with another. Can create a comic or emphatic effect.

划像：一条线划过屏幕，用一个镜头替换另一个。可以营造喜剧或强调效果。

Continuity editing creates a seamless flow so the audience doesn’t notice the cuts. This is achieved through techniques like match on action, shot reverse shot, and the 180-degree rule.

连续性剪辑创造出无缝的流动，让观众注意不到剪辑点。这通过动作匹配、正反打镜头和180度规则等技巧实现。

Match on Action → Smooth continuity | 动作匹配 → 流畅的连续性

Shot Reverse Shot → Dialogue scene convention | 正反打镜头 → 对话场景惯例

5. Mise-en-Scène | 场景调度

Mise-en-scène is a French term meaning ‘everything in the scene’. It includes setting, props, costume, lighting, colour, and the arrangement of actors. It is a powerful tool for creating mood and conveying symbolic meaning.

Mise-en-scène 是一个法语术语，意为“场景中的一切”。它包括场景、道具、服装、灯光、色彩和演员的调度。它是营造氛围和传达象征意义的强大工具。

When analysing mise-en-scène, ask: What is in the frame? Why is it there? How does it make the audience feel?

分析场景调度时，要问：画面里有什么？它为什么在那里？它让观众产生什么感觉？

Lighting: High-key lighting (bright, even) suggests happiness or openness; low-key lighting (shadows, contrast) creates mystery or fear.

灯光：高调照明（明亮、均匀）暗示快乐或开放；低调照明（阴影、对比）创造神秘或恐惧。
Colour: Warm colours (red, orange) evoke passion or danger; cool colours (blue, green) suggest calm or sadness.

色彩：暖色（红、橙）唤起激情或危险；冷色（蓝、绿）暗示平静或悲伤。
Costume and Props: These instantly communicate a character’s personality, status, or role. A lab coat = scientist; a crown = royalty.

服装与道具：这些能瞬间传达角色的性格、地位或身份。白大褂 = 科学家；王冠 = 皇室。

6. Sound in Media | 媒体中的声音

Sound can be diegetic (part of the story world) or non-diegetic (outside the story world, added for the audience). Both work together to shape the viewer’s experience.

声音可以是剧情内音（故事世界的一部分）或非剧情内音（故事世界外、为观众添加的）。两者共同塑造观众的体验。

Diegetic Sound | 剧情内音: Dialogue, footsteps, car engines → Characters can hear it

Non-Diegetic Sound | 非剧情内音: Background music, voiceover, sound effects → Only audience hears it

Sound bridges, where music or sound continues across a cut, help smooth transitions and link scenes. Contrapuntal sound is sound that deliberately contrasts with the image, creating irony or discomfort (e.g., happy music over a violent scene).

声音桥接，即音乐或声音延续跨越剪辑点，有助于平滑过渡并连接场景。对位音是刻意与画面形成对比的声音，营造讽刺或不适感（例如，暴力场面配上欢快的音乐）。

7. Narrative Theory: Todorov | 叙事理论：托多罗夫

Tzvetan Todorov proposed that most narratives follow a five-stage structure. This can be used to analyse the plot of any film, television episode, or even a news story.

茨维坦·托多罗夫提出，大多数叙事遵循一个五阶段结构。这可用于分析任何电影、电视剧集甚至新闻报道的情节。

1. Equilibrium → 2. Disruption → 3. Recognition → 4. Attempt to Repair → 5. New Equilibrium

1. 平衡状态 → 2. 平衡打破 → 3. 察觉破坏 → 4. 尝试修复 → 5. 新平衡

Equilibrium: The normal, happy situation at the beginning. Disruption: An event that changes everything. Recognition: The characters realise the disruption. Attempt to repair: The hero takes action to restore order. New equilibrium: The world is restored, but often changed. Applying Todorov helps you see the skeleton of a story.

平衡状态：开始时的正常、快乐情境。平衡打破：一个改变一切的事件。察觉破坏：角色们意识到干扰。尝试修复：英雄采取行动恢复秩序。新平衡：世界得以恢复，但通常已发生变化。应用托多罗夫理论能帮你看到故事的骨架。

8. Character Types: Propp | 角色类型：普罗普

Vladimir Propp studied Russian fairy tales and identified seven character types (or ‘spheres of action’). Many modern stories still use these archetypes.

弗拉基米尔·普罗普研究了俄罗斯民间故事，确定了七种角色类型（或“行动范畴”）。许多现代故事仍使用这些原型。

The 7 Character Types | 七种角色类型:

The Hero: Seeks something, often saves the day.

英雄：寻找某物，常拯救世界。
The Villain: Opposes the hero, creates disruption.

反派：与英雄对立，制造破坏。
The Donor: Gives the hero a magical object or advice.

捐赠者：给英雄提供法宝或建议。
The Dispatcher: Sends the hero on the quest.

派遣者：派遣英雄去执行任务。
The Helper: Assists the hero on the journey.

助手：在旅途中帮助英雄。
The Princess (or prize): What the hero seeks; often needs rescuing.

公主（或奖赏）：英雄所寻求的目标；常需要被拯救。
The False Hero: Appears good but turns out to be bad.

伪英雄：看似好人实为坏人。

A single character can fill more than one role, but identifying Propp’s types helps uncover the character functions in a narrative.

一个角色可以担任多个角色，但识别普罗普的类型有助于揭示叙事中角色的功能。

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

Representation is not reality; it is the re-presentation of reality through media choices. Media texts construct versions of people, places, and events, which shape our understanding of the world.

再现并非现实本身；它是通过媒体选择对现实的重新呈现。媒介文本构建了人物、地点和事件的版本，塑造了我们对世界的理解。

A stereotype is a simplified, often exaggerated, representation of a group. Stereotypes can be negative (e.g., lazy teenager) or seemingly positive (e.g., all Asian students are good at maths), but they reduce individuals to a few traits. The media often uses stereotypes as a shortcut, but they can be harmful.

刻板印象是对一个群体简化、往往夸大的再现。刻板印象可以是负面的（例如，懒惰的青少年）或看似正面的（例如，所有亚洲学生都擅长数学），但它们将个体简化为少数几个特征。媒体常将刻板印象用作捷径，但它们可能是有害的。

To analyse representation, ask: Who is being represented? How are they shown (costume, dialogue, camera angle)? Are stereotypes being used or challenged?

分析再现时，要问：谁被再现了？他们是如何被展示的（服装、对话、镜头角度）？刻板印象是被使用还是被挑战了？

10. Audience and Purpose | 受众与目的

Every media text is created for a specific target audience and with a clear purpose. The purpose can often be remembered using the acronym PIE: Persuade, Inform, Entertain.

每一个媒介文本都是为特定的目标受众和明确的目的是创作的。目的通常可以用首字母缩写 PIE 来记忆：说服、告知、娱乐。

Media Purpose | 媒介目的: Persuade → Inform → Entertain (PIE)

Target audience can be defined by demographics (age, gender, location, income) or psychographics (interests, values, lifestyle). Producers use audience appeal strategies like using a celebrity, creating suspense, or tapping into shared fears and dreams.

目标受众可以通过人口统计特征（年龄、性别、地点、收入）或心理细分（兴趣、价值观、生活方式）来定义。制作者使用受众吸引策略，如使用名人、制造悬念或触及共同的恐惧和梦想。

11. Genre and Conventions | 类型与惯例

Genre is a category of media text (e.g., horror, comedy, sci-fi) that shares recurring elements. Conventions are the “ingredients” we expect to see in a genre. A genre formula combines key conventions.

类型是一个媒介文本的类别（例如，恐怖、喜剧、科幻），它们共享反复出现的元素。惯例是我们期待在某个类型中看到的“成分”。类型公式结合了关键惯例。

Genre Convention Examples | 类型惯例示例:

Horror: Dark lighting, isolated setting, jump scares, final girl.

恐怖片：暗调照明、孤立场景、突发惊吓、最后的女孩。
Romcom: Meet-cute, misunderstanding, best friend sidekick, happy ending.

浪漫喜剧：邂逅误会、误解、闺蜜/死党、幸福结局。
Action: Explosions, chase sequences, tough hero with a one-liner.

动作片：爆炸场面、追逐序列、说金句的硬汉英雄。

Genres can be hybrid (mix two or more, e.g., rom-com) or subverted (play with conventions in unexpected ways). Understanding genre helps predict a text’s appeal and meaning.

类型可以是混搭的（混合两种或多种，如浪漫喜剧）或颠覆性的（以意想不到的方式玩弄惯例）。理解类型有助于预测文本的吸引力和意义。

12. Media Industries: Key Concepts | 媒体产业：关键概念

Media texts are produced, distributed, and consumed within industries. Key concepts include production, distribution, exhibition, and regulation. Even at Year 7 level, it’s useful to think about who makes media, how it reaches us, and who controls it.

媒介文本在产业中被生产、分发和消费。关键概念包括制作、发行、放映和监管。即使在 Year 7 水平，思考谁制作媒体、它如何到达我们、以及谁控制它也是很有用的。

Production: The process of creating the media product (scripting, filming, editing).

制作：创造媒介产品的过程（编剧、拍摄、剪辑）。
Distribution: How the product gets to audiences (cinemas, streaming, TV channels).

发行：产品如何到达受众（影院、流媒体、电视频道）。
Exhibition: Where audiences consume the product (movie theatre, phone, VR headset).

放映：受众消费产品的地点（电影院、手机、VR 头盔）。
Conglomerates vs. Independents: Big companies (e.g., Disney) own many subsidiaries; indie films are made outside the major studio system, often with lower budgets but more creative freedom.

大集团 vs. 独立制作：大公司（如迪士尼）拥有众多子公司；独立电影在大制片厂体系之外制作，通常预算较低但创作自由度更高。

Regulation and classification: Media content is rated (e.g., PG, 12A) to protect younger audiences, and advertising is overseen by bodies like the ASA in the UK.

监管与分级：媒体内容被评级（例如 PG, 12A）以保护年轻观众，广告则由英国 ASA 等机构监管。

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Year 7 Cambridge Media Formula & Theorem Quick Reference Handbook | Year 7 剑桥媒体：公式定理速查手册