📚 Year 7 SQA Media: Quick Gloss Guide for Vocabulary & Terminology | SQA 七年级媒体：词汇术语速记指南
Media Studies is like learning a new language. Every film poster, video clip, and website uses special codes to send messages to the audience. This guide will help you quickly memorise the key terms you need for your SQA Year 7 course, with simple definitions in both English and Chinese, so you can feel confident decoding any media text.
媒体研究就像学习一门新语言。每张电影海报、视频片段和网站，都用特殊的密码向受众传递信息。这份指南将帮助你快速记忆 SQA 七年级课程所需的关键术语，同时提供简单的中英文解释，让你自信地解读任何媒介文本。
1. Media Text & Medium | 媒介文本与媒介
A media text is any product created to communicate a message, such as a film, a newspaper, or a social media post. The medium is the channel through which it is delivered, like television, radio, or the internet.
媒介文本指任何为传达信息而创造的产品，例如电影、报纸或社交媒体帖子。媒介则是传递信息的渠道，如电视、广播或互联网。
When studying a media text, always ask yourself: what medium is being used, and how does that shape the message? A horror trailer on TikTok might feel different from the same trailer in a cinema.
在学习媒介文本时，一定要问自己：使用了哪种媒介，它如何塑造信息？同样一部恐怖预告片，在 TikTok 上和电影院里给人的感觉可能完全不同。
| Media Text Example | Medium |
|---|---|
| Movie poster | Print or digital display |
| Podcast episode | Audio streaming platform |
| Video game trailer | YouTube / social media |
2. Denotation and Connotation | 外延与内涵
Denotation is what you literally see or hear in a media text – the straightforward description without any added meaning. Connotation is the deeper, often emotional or cultural meaning attached to that element.
外延是你在媒介文本中直接看到或听到的内容——不加任何附加意义的直接描述。内涵则是附着在该元素上更深层的、往往带有情感或文化色彩的意义。
For example, a rose on a film poster denotes a flower, but it connotes romance, love, or even secrecy. When you analyse a text, always separate what is shown from what is suggested.
例如，电影海报上的玫瑰外延为一朵花，但内涵可能是浪漫、爱情甚至秘密。分析文本时，始终将所示之物与所暗示之物区分开来。
3. Key Camera Shot Types | 关键镜头景别
A close-up shows a character’s face or a small detail, making the audience feel intimate or tense. A long shot shows the whole figure and the surrounding environment, often used to establish a scene.
特写镜头展示人物面部或细小细节，让观众感到亲近或紧张。远景镜头展示整个人物和周围环境，常用于建立场景。
A mid shot, usually from the waist up, is common in dialogue scenes because it feels natural. An extreme close-up might show just an eye or a key object, heightening drama.
中景通常从腰部以上取景，常见于对话场景，因为它感觉自然。大特写可能只展示一只眼睛或一个关键物品，增强戏剧效果。
A high angle shot looks down on a character, making them appear weak or vulnerable. A low angle shot looks up, making them seem powerful or threatening.
俯拍镜头从高处向下拍摄人物，使其显得弱小或脆弱。仰拍镜头从低处向上拍摄，使其显得强大或具有威胁性。
4. Sound Terminology | 声音术语
Diegetic sound is any sound that exists within the world of the story, such as characters talking, a door slamming, or a radio playing. Non-diegetic sound is added for the audience alone, like background music or a narrator’s voice-over.
剧情内声音是指故事世界中存在的任何声音，如角色交谈、关门声或收音机播放的声音。非剧情内声音是仅为观众添加的，如背景音乐或旁白解说。
Sound effects (SFX) are used to make the action feel realistic or to emphasise a moment. Ambient sound, like birdsong or traffic noise, helps to build the atmosphere of a setting.
音效用于使动作感觉真实或强调某个瞬间。环境音，如鸟鸣或交通噪音，有助于构建场景氛围。
5. Mise-en-Scène Elements | 场面调度要素
Mise-en-scène is a French term that means ‘everything in the frame’. It includes setting, costume, lighting, props, and the positioning of characters. Every visual choice helps to tell the story.
场面调度是一个法语术语，意为“画面中的一切”。它包括布景、服装、灯光、道具和角色的站位。每个视觉选择都有助于讲述故事。
Costume can instantly signal a character’s personality, era, or social status. Lighting can create shadows for a mystery scene or bright, even light for a cheerful product advertisement.
服装可以立即表明角色的个性、时代或社会地位。灯光可为悬疑场景制造阴影，也可为欢快的产品广告提供明亮均匀的光线。
6. Editing Cuts and Transitions | 剪辑剪切与转场
A cut is the most basic edit – simply one shot moving instantly to the next. A fade to black often signals the end of a sequence or a passage of time. A dissolve blends two shots together, suggesting a connection or a memory.
剪切是最基本的剪辑方式——一个镜头瞬间跳转到下一个。淡出到黑场通常表示一段序列的结束或时间的流逝。叠化将两个镜头融合在一起，暗示联系或回忆。
Cross-cutting shows two different locations or actions happening at the same time, building suspense. A jump cut breaks continuity deliberately, often used in vlogs or to show a character’s confusion.
交叉剪辑展示同时发生在两个不同地点或动作，制造悬念。跳跃剪辑故意破坏连贯性，常用于视频博客或表现角色的困惑。
7. Colour and Lighting Codes | 色彩与灯光符码
Colours carry symbolic meaning in media. Red can suggest danger, passion, or blood. Blue often connotes calm, coldness, or technology. Yellow can feel happy and warm, or warning and sickness.
颜色在媒介中承载象征意义。红色可以暗示危险、激情或血腥。蓝色通常意味着冷静、寒冷或科技。黄色可以让人感到快乐温暖，也可以表示警告和病态。
High-key lighting is bright and reduces shadows, common in comedies and adverts. Low-key lighting creates deep shadows and contrast, typical of horror and film noir.
高调照明明亮且减少阴影，常见于喜剧和广告。低调照明制造深阴影和高对比度，常见于恐怖片和黑色电影。
8. Typography and Graphics | 字体与图像设计
Serif fonts with small decorative lines often feel traditional and serious, like on a newspaper masthead. Sans-serif fonts without these lines look modern and clean, used in many tech logos.
带有小装饰线的衬线字体通常感觉传统和严肃，如报纸刊头。无装饰线的无衬线字体看起来现代简洁，用于许多科技品牌标志。
Bold, large typography demands attention and can show power or urgency. The choice of colour for text also affects readability and the mood of the text, such as white text on a dark background for a dramatic effect.
粗体大号字样引人注目，可以显示力量或紧迫感。文字颜色的选择也会影响可读性和文本情绪，例如深色背景上的白色文字具有戏剧效果。
9. Audience and Demographics | 受众与人口统计
Media producers categorise audiences using demographics: age, gender, income, education, and location. Psychographics go deeper, exploring interests, values, and lifestyle.
媒介制作人通过人口统计特征对受众进行分类：年龄、性别、收入、教育程度和地理位置。心理统计则更深入，探索兴趣、价值观和生活方式。
A target audience is the specific group a media product is designed for. For example, a toy advert will target children during weekend morning TV slots, while a luxury car ad may appear in a business magazine.
目标受众是媒介产品所针对的特定群体。例如，玩具广告会在周末早晨电视时段针对儿童，而豪车广告可能出现在商务杂志上。
10. Representation and Stereotypes | 表征与刻板印象
Representation is how media shows people, places, and ideas to the audience. It is not reality but a constructed version. Stereotypes are simplified, often exaggerated, representations of groups of people.
表征是媒介向受众展示人物、地点和观念的方式。它不是现实，而是一种构建的版本。刻板印象是对人群的简化、往往夸张的表现。
Media can challenge stereotypes by showing diverse and complex characters. When analysing representation, ask who is included, who is excluded, and whether the portrayal feels fair.
媒介可以通过展现多元复杂的角色来挑战刻板印象。分析表征时，要问谁被包含在内，谁被排除，以及这种描绘是否公正。
11. Narrative Structure | 叙事结构
Todorov’s theory suggests many stories follow this pattern: equilibrium (order), disruption (something goes wrong), recognition of disruption, attempt to repair, and new equilibrium.
托多罗夫的理论认为许多故事遵循这样的模式：平衡（秩序）、打破（出现问题）、发现打破、尝试修复，以及新的平衡。
A linear narrative goes in a straight line from beginning to end. A non-linear narrative jumps around in time, using flashbacks or flashforwards, like in many puzzle films.
线性叙事从开头到结尾直线进行。非线性叙事在时间中跳跃，使用倒叙或预叙，如同许多拼图式电影。
12. Media Institutions and Regulation | 媒介机构与监管
A media institution is an established organisation that creates and distributes media, such as the BBC, Disney, or News Corp. Institutions have their own values, codes, and house styles that influence content.
媒介机构是创建和分发媒介产品的成熟组织，如 BBC、迪士尼或新闻集团。机构有自己的价值观、符码和内部风格，这些会影响内容。
In the UK, Ofcom regulates television and radio to ensure fairness and protect audiences. The BBFC classifies films with age ratings like U, PG, 12, 15, and 18 to guide viewers.
在英国，Ofcom 监管电视和广播，以确保公平并保护受众。BBFC 对电影进行分级，如 U、PG、12、15 和 18，以引导观众。
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