📚 Year 7 CCEA Media: Vocabulary Terminology Quick-Memorisation Guide | CCEA七年级媒体：词汇术语速记指南
Building a solid vocabulary is the first step to becoming a confident Media Studies student. In Year 7 CCEA Media, you will learn to ‘read’ films, advertisements, news articles, and social media posts just like a professional. This guide brings together the most important terms, organised so you can memorise them quickly and use them accurately in class discussions and written analysis. Each section pairs a clear English explanation with a Chinese translation to help bilingual learners strengthen their understanding.
建立扎实的词汇库是成为自信的媒体研究学生的第一步。在CCEA七年级媒体课程中，你将学会像专业人士一样 ‘阅读’ 电影、广告、新闻文章和社交媒体帖子。本指南汇集了最重要的术语，并进行了有序整理，让你能够快速记忆，并在课堂讨论和书面分析中准确运用。每个部分都提供了清晰的英文解释与中文翻译对照，帮助双语学习者加深理解。
1. Why Memorise Media Terms? | 为什么要记忆媒体术语？
Knowing the language of Media Studies helps you explain exactly how a text makes you think or feel. Instead of saying ‘the picture looks nice’, you can say ‘the close-up shot draws attention to the character’s facial expression, creating empathy in the audience’. Precise vocabulary boosts your marks and shows you are thinking like a media analyst, not just a casual viewer.
掌握媒体研究的语言，能帮助你准确解释一个文本是如何影响你的思维或情感的。与其说 ‘这张图片看起来不错’，不如说 ‘特写镜头将观众的注意力引向角色的面部表情，在观众心中产生共鸣’。精准的词汇能提高你的分数，也表明你是在像媒体分析师一样思考，而不仅仅是一个随意的观众。
2. The Big Three: Media Text, Audience, Producer | 三大核心概念：媒体文本、受众、制作者
Every piece of media can be broken down into three key components. The media text is the actual product – the film, poster, podcast, or webpage you are studying. The audience is the group of people who receive and interpret the text; they are not passive – they bring their own experiences and opinions. The producer is the person or company that creates the text with a specific purpose, such as to inform, entertain, or persuade. Understanding this triangle is the foundation of all media analysis.
任何媒体作品都可以拆解为三个关键组成部分。媒体文本就是你正在研究的实际产品——电影、海报、播客或网页。受众是接收并解读文本的人群；他们并不是被动的——他们会带入自己的经验和观点。制作者是创作文本的个人或公司，他们有着特定的目的，例如告知、娱乐或说服。理解这个三角关系是所有媒体分析的基础。
3. Camera Shots: Framing the Story | 镜头景别：框定故事
Camera shots describe how much of the scene or subject appears in the frame. An extreme long shot (ELS) shows a vast landscape or cityscape, often setting the scene. A long shot (LS) shows the full human figure and some surroundings. A medium shot (MS) frames a person from the waist up, commonly used for dialogue. A close-up (CU) focuses on a face or an object, revealing detail and emotion. An extreme close-up (ECU) zooms in even further, perhaps just an eye or a key prop, to create intensity. Remember: the tighter the shot, the more intimate and emotional the effect.
镜头景别描述画面中出现了多少场景或主体。极远景（ELS）展示广阔的风景或城市风貌，通常用于交代场景。远景（LS）显示整个人物以及部分周围环境。中景（MS）取人物腰部以上的画面，常用于对话场景。特写（CU）聚焦于面部或某个物体，展现细节和情感。极特写（ECU）更近一步，或许只是一只眼睛或一个关键道具，营造紧张感。记住：景别越紧，效果越亲密、情绪越强烈。
4. Camera Angles: Power and Point of View | 镜头角度：权力与视角
Camera angles influence how we perceive a character. A high-angle shot looks down on the subject, making them appear small, weak, or vulnerable. A low-angle shot looks up at the subject, giving them a sense of power, authority, or menace. An eye-level shot places the audience on equal footing with the character, creating neutrality or realism. A bird’s-eye view is shot directly from above, often used to show a location map or to make people look insignificant. A Dutch tilt (canted angle) slants the horizon, suggesting confusion, unease, or a distorted world.
镜头角度影响我们对角色的认知。俯拍镜头从上往下拍摄主体，令其显得渺小、软弱或易受伤害。仰拍镜头从下往上拍摄主体，赋予其力量感、权威或威胁感。平视镜头使观众与角色处于同等高度，营造中立或现实感。鸟瞰镜头从正上方拍摄，常用于展示场地地图或让人显得渺小。荷兰角（倾斜角度）让地平线歪斜，暗示困惑、不安或扭曲的世界。
5. Sound: Diegetic and Non-Diegetic Worlds | 声音：剧情内与剧情外的世界
Sound in media is divided into two main categories. Diegetic sound comes from within the story world – characters talking, a door slamming, music playing from a radio that the characters can also hear. Non-diegetic sound is added for the audience only – a dramatic film score, a voice-over narrator, or sound effects like a ‘whoosh’ that aren’t part of the character’s reality. The distinction helps you decide whether the sound is building the world on screen or guiding your feelings from outside.
媒体中的声音主要分为两大类。剧情内声音来自故事世界之内——角色的对话、关门声、从收音机里传出的角色也能听到的音乐。剧情外声音仅为观众添加——戏剧性的电影配乐、画外音旁白，或者不属于角色现实世界的 ‘嗖嗖’ 音效。这种区分有助于你判断声音是在构建屏幕内的世界，还是从外部引导你的情绪。
6. Editing: Pace, Transition, and Continuity | 剪辑：节奏、转场与连贯性
Editing shapes time, rhythm, and meaning. A cut is the most basic transition from one shot to another. Continuity editing creates a smooth, invisible flow so that the story feels seamless. Montage is a series of shots edited together to compress time and convey a lot of information quickly, often set to music. Cross-cutting alternates between two or more scenes happening at the same time, building suspense. The pace of editing – fast with quick cuts for action, slow with long takes for calm or tension – directly affects the mood.
剪辑塑造时间、节奏和含义。剪切是从一个镜头切换到另一个镜头的最基本转场方式。连贯性剪辑创造出流畅、不着痕迹的流动感，使故事显得天衣无缝。蒙太奇将一系列镜头剪辑在一起，压缩时间并快速传达大量信息，通常配以音乐。交叉剪辑在两个或多个同时发生的场景之间来回切换，营造悬念。剪辑的节奏——快节奏使用快速剪切表现动作，慢节奏使用长镜头表现平静或紧张——直接影响情绪。
7. Mise-en-Scène: Everything in the Frame | 场面调度：画面中的一切
Mise-en-scène is a French term meaning ‘what is placed in the scene’. It covers six elements: setting (where the action happens), props (objects used by characters), costume and makeup (what characters wear), lighting (bright, dark, coloured, natural), body language and facial expression, and colour (warm, cold, symbolic). When you analyse a still image or a shot, ask yourself what each of these elements tells you about the character, mood, or genre.
场面调度是一个法语术语，意为 ‘场景中放置的东西’。它涵盖六个要素：场景（动作发生的地点）、道具（角色使用的物品）、服装与化妆（角色的穿着）、灯光（明亮、暗淡、彩色、自然光）、肢体语言和面部表情，以及色彩（暖色、冷色、象征性色彩）。当你分析一张静态画面或一个镜头时，问问自己这些元素分别告诉你关于角色、情绪或类型的什么信息。
8. Representation: Constructing Reality | 再现：建构现实
Media does not simply reflect the world; it re-presents it through choices. Representation refers to how people, places, events, and ideas are portrayed. A film might represent teenagers as rebellious, a city as dangerous, or a historical event as heroic. These portrayals are constructed through stereotypes (simplified, often exaggerated traits), countertypes (positive challenges to stereotypes), and selective representation (showing only certain aspects). Always ask: who or what is being represented, and is this fair, accurate, or biased?
媒体并非简单地反映世界，而是通过选择来重新呈现世界。再现指的是人物、地点、事件和观念被呈现的方式。一部电影可能将青少年再现为叛逆的，将城市再现为危险的，或将历史事件再现为英勇的。这些呈现是通过刻板印象（简化的、往往夸张的特质）、反刻板印象（对刻板印象的正面挑战）和选择性再现（只展示某些方面）建构而成的。永远要问：谁或什么被再现了，这种再现公正、准确，还是存在偏见？
9. Audience and Genre: Expectation and Targeting | 受众与类型：期待与定位
Genre is a category of media text that shares similar conventions – think horror, comedy, sci-fi, or news bulletin. Genres create a set of expectations for the audience; a horror film promises fear, a romcom promises laughter and love. Audience targeting means producers design texts for specific groups – by age, gender, interests, or lifestyle. The same text can have a primary audience (the main intended group) and a secondary audience (others who might also enjoy it). Understanding genre and audience helps you explain why certain choices are made.
类型是共享相似惯例的媒体文本类别——比如恐怖片、喜剧、科幻片或新闻简报。类型为观众创造了一组期待；恐怖片承诺恐惧，浪漫喜剧承诺欢笑与爱情。受众定位意味着制作者为特定群体设计文本——按年龄、性别、兴趣或生活方式。同一文本可以有一个主要受众（主要的目标群体）和一个次要受众（也可能喜欢它的其他人群）。理解类型和受众，有助于你解释为何做出某些创作选择。
10. Memory Hacks: Quick Ways to Lock in the Terms | 记忆技巧：快速锁定术语的方法
Use flashcards with the term on one side and the definition plus a simple sketch on the other. Try word webs – write ‘Mise-en-scène’ in the centre and draw branches for setting, props, lighting, etc. The ‘see it, say it, draw it’ method works well: look at a film still and verbally identify all the media language you can spot. Study with a partner using quick-fire quizzes: ‘Name three camera angles’ or ‘Give an example of non-diegetic sound’. Finally, label your favourite movie scenes or posters with sticky notes – this active recall cements the vocabulary in your long-term memory.
使用抽认卡，一面写术语，另一面写定义并画上简单的示意图。尝试词汇网——在中心写上 ‘Mise-en-scène’，然后画出分支，写上场景、道具、灯光等。 ‘看、说、画’ 的方法非常有效：看着一张电影剧照，口头说出你所能发现的所有媒体语言。与伙伴一起用快速问答来学习：’说出三种镜头角度’ 或 ‘举一个剧情外声音的例子’。最后，用便利贴在你最喜爱的电影场景或海报上做标注——这种主动回忆能将词汇牢牢锁进你的长期记忆中。
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