📚 Year 8 Edexcel Media: Vocabulary & Terminology Quick Revision Guide | 媒体词汇术语速记指南
Welcome to your quick-fire revision guide for Year 8 Edexcel Media. This article will help you remember all the key terms you need for analysing and creating media texts. We have broken down the terminology into 12 bite-sized sections, each with memorable examples and memory tips. Let’s turn tricky words into second nature!
欢迎来到 Year 8 Edexcel 媒体快速复习指南。这篇文章会帮你记住分析和创作媒体文本所需的所有关键术语。我们把术语拆分成 12 个小模块，每个模块都配有易记的例子和记忆妙招。让我们把难词变成你的直觉反应！
1. Media Language: Denotation and Connotation | 媒体语言：外延与内涵
Denotation means what you literally see or hear. It is the direct, surface-level description, like a dictionary definition. For example, an image of a red heart simply denotes a heart shape.
外延是指你直接看到或听到的内容，是直接的、表层的描述，就像词典释义。例如，一颗红心的图像，其外延就是一个心形。
Connotation is the deeper meaning or feeling that comes with that image. The red heart connotes love, romance, or affection. Media producers use connotations to inject emotion and hidden messages into their work.
内涵则是伴随这个图像产生的更深层含义或感觉。红心可以内涵爱情、浪漫或喜爱。媒体制作者利用内涵为作品注入情感和隐含信息。
Memory tip: Link ‘Denotation’ with ‘Dictionary’ – both start with D. For ‘Connotation’, think ‘Connected feelings’. So, D for Direct, C for Cultural meaning.
速记法：把’外延’和’词典’联系起来，都是直接解释。而’内涵’对应’联想的意思’，即文化上的感觉。用首字母 D（直接）和 C（深层）帮助记忆。
2. Camera Shots: Framing the Subject | 镜头景别：框住主体
Camera shots tell the audience where to look and how close we should feel to the subject. An extreme close-up (ECU) shows just a small detail, such as an eye or a fingertip. A close-up (CU) frames the entire face. A medium shot (MS) captures the body from the waist up. A long shot (LS) reveals the full body and its surroundings, while an extreme long shot (ELS) makes the person tiny against a broad landscape. Other shots include a two-shot with two people and an over-the-shoulder shot that shows one person from behind another’s shoulder.
镜头景别告诉观众该看哪里，以及对主体应有的亲密感。极度特写（ECU）只展示一个微小细节，比如一只眼睛或指尖。特写（CU）框住整个面部。中景（MS）从腰部以上拍摄。远景（LS）显示全身与周围环境，而大远景（ELS）让个人在广阔景观中显得极小。其他镜头还包括双人镜头和过肩镜头，过肩镜头从某人肩膀后方拍摄另一个人。
Simple memory: ECU = ‘Extreme detail’; CU = ‘Close face’; MS = ‘Mid-body’; LS = ‘Long scene’; ELS = ‘Extremely small person’. Picture each abbreviation as a shortcut to the shot size.
简易记忆：ECU = ‘极度细节’；CU = ‘靠近脸部’；MS = ‘中间身体’；LS = ‘远景场景’；ELS = ‘极小人物’。把每个缩写想象成景别的快照标签。
3. Camera Angles: Power and Perspective | 镜头角度：权力与视角
A high-angle shot looks down on the subject, making it appear small, weak, or vulnerable. A low-angle shot looks up, making the subject seem powerful, dominant, or threatening. An eye-level shot places us at the same height as the character, creating a sense of equality. A bird’s-eye view is a very steep high angle directly from above, while a worm’s-eye view is from ground level upward.
俯拍镜头从上方俯视主体，令其显得渺小、软弱或脆弱。仰拍镜头从下方仰视，让主体显得强大、主宰或具有威胁性。平视镜头将我们置于与角色同等高度，营造平等感。鸟瞰视角是直接从正上方的极高角度，而虫视视角则是从地面向上拍。
Recall this rule: High = Low (subject looks low in power); Low = High (subject looks high in power). It sounds backwards but that’s the trick!
记忆窍门：高角度等于低权力（主体看起来地位低），低角度等于高权力（主体看起来地位高）。乍听矛盾，正是诀窍！
4. Camera Movement: Bringing Scenes to Life | 镜头运动：赋予画面生命
A pan swivels the camera horizontally on a fixed spot, like turning your head left to right. A tilt moves the camera up or down while staying in place. A zoom changes the lens to make the subject appear closer (zoom in) or farther (zoom out) without moving the camera. Tracking or dolly shots physically move the camera alongside the subject, often on rails. A handheld shot is deliberately shaky to create a documentary, urgent, or chaotic feel.
摇镜是指相机固定在三脚架上水平旋转，就像左右转头。俯仰是在固定位置上上下移动相机。变焦则是改变镜头使主体看起来更近（推近）或更远（拉远），相机本身不动。推轨镜头是将相机沿轨道随主体移动。手持镜头故意制造晃动感，以营造纪实、紧迫或混乱的效果。
Use the phrase ‘Pans and Tilts Turn, Zooms Zoom In, Tracking Travels’. Also, handheld = ‘shaky = reality’.
记住这句顺口溜：’摇和俯仰是转头，变焦是拉近走，推轨是跟着游’。再加上，手持=晃动=真实感。
5. 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 ‘placed in the scene’. It covers five main elements: setting and props, costume and makeup, lighting, colour, and the positioning of characters/objects. For example, a dark, candle-lit room with cobweb props and shadows creates a horror mise-en-scène. A bright beach with pastel costumes gives a light-hearted feel.
场面调度是法语，意为’放入场景中’。它涵盖五个主要元素：场景与道具、服装与化妆、灯光、色彩，以及人物/物体的位置。例如，一个有着蛛网道具和阴影的暗黑烛光房间，就营造出恐怖片场面调度。而穿着粉彩服装的明亮沙滩，则传达轻松氛围。
Think of SCALE: Setting, Costume, Actors’ positions, Lighting, Everything else. That spells ‘scale’ – everything works on a scale of meaning.
想想首字母 S-C-A-L-E：场景(Setting)、服装(Costume)、演员位置(Actors’ positions)、灯光(Lighting)、其他所有(Everything else)。正好拼成’SCALE’，一切都在意义的天平上。
6. Lighting: Creating Mood and Focus | 灯光：营造氛围与焦点
High-key lighting is bright, even, and casts few shadows. It is typical of comedies, sitcoms, and adverts, giving a cheerful, open feel. Low-key lighting uses strong contrast between light and dark, with deep shadows. It is common in thrillers, horror, and film noir to create mystery and tension. The three-point lighting system includes a key light (main source), fill light (softens shadows), and backlight (separates subject from background).
高调灯光明亮、均匀，几乎没有阴影，常见于喜剧、情景剧和广告，给人愉悦、开放的感觉。低调灯光利用强烈的明暗对比和深重阴影，常用于惊悚片、恐怖片和黑色电影，以营造神秘与紧张感。三点布光系统包括主光（主要光源）、辅助光（柔化阴影）和背光（把主体从背景中分离出来）。
Memory aid: High-key = Happy (both start with H); Low-key = Lurking danger (both start with L). For three-point, think ‘Key, Fill, Back’ – the KFB of mood.
记忆口诀：高调=快乐 (High-key, Happy)；低调=潜伏危险 (Low-key, Lurking)。对于三点布光，记住’主、辅、背’的黄金组合。
7. Sound Techniques: Diegetic and Non-Diegetic | 声音技巧：剧情声与非剧情声
Diegetic sound comes from a source within the story world – dialogue, footsteps, a radio playing, ambient noise. Characters and the audience can hear it. Non-diegetic sound is added for the audience only, such as the film score, voice-over narration, or a dramatic sound effect that the characters are unaware of.
剧情声来源于故事世界内部——对话、脚步声、广播音乐、环境音。角色和观众都能听见。非剧情声只加给观众听，如配乐、画外旁白，或角色听不见的戏剧化音效。
Recall: Diegetic = ‘In the scene’ (think DI- as in ‘directly there’). Non-diegetic = ‘Not in the scene’. Imagine a creepy violin sound in a horror film – the character does not hear it, only you do.
记忆提醒：剧情声=’在场景内’（DI- 联想到直接在场），非剧情声=’不在场景内’。想象一下恐怖片中的诡异小提琴声——角色听不见，就你听得见。
8. Editing: Transitions and Pace | 剪辑：转场与节奏
A cut is the most common transition – one shot instantly replaces the next. A fade goes gradually to black (fade-out) or from black (fade-in), often marking the passage of time. A dissolve overlaps the end of one shot with the beginning of another, suggesting a connection or softer time shift. A wipe is a visible line moving across the screen to replace the image, used creatively in films like Star Wars. Fast-paced editing with many quick cuts builds excitement, while longer takes create calm or tension.
硬切是最常见的转场——一个镜头立刻替换成下一个。淡入淡出是逐渐变黑（淡出）或从黑变亮（淡入），常表示时间流逝。溶接则将前一镜头结尾与下一镜头开头重叠，暗示关联或柔和的时间变化。划接是屏幕上一条明显直线划过替换画面，《星球大战》等电影就很有创意地用到了它。快节奏剪辑通过大量快速切镜头营造兴奋感，长镜头则制造宁静或紧张。
Remember: ‘Cut is instant, Fade goes to black, Dissolve blends time, Wipe sweeps across.’ Editing pace shapes the heartbeat of a scene.
记住：’切是瞬间，淡是变黑，溶是交融，划是一扫而过。’剪辑节奏掌控着场景的心跳。
9. Narrative Structure: How Stories Are Shaped | 叙事结构：故事如何塑造
A linear narrative follows a straightforward chronological order from beginning to end. A non-linear narrative jumps around in time using flashbacks or flash-forwards, keeping the audience guessing. A circular narrative ends where it began, creating a closed loop. Most films follow Todorov’s simple three-step structure: equilibrium (a balanced start), disruption (something goes wrong), and a new equilibrium (resolution). An open ending leaves questions unresolved; a closed ending ties everything up.
直线叙事按照时间先后从开始排到结束。非线性叙事利用倒叙或预叙在时间线上跳跃，让观众不断猜测。环状叙事则结束于起点，形成一个闭合回路。大部分电影遵循托多罗夫的简单三步结构：平衡（平静开始）、打破（事情出错）和新平衡（解决）。开放式结局留下未解问题；封闭式结局则把一切都交代清楚。
Mnemonic: ‘L in Linear = Line (straight timeline). Non-linear = Not a line.’ For Todorov, think ‘E-D-E’ (Equilibrium, Disruption, Equilibrium).
记忆法：’Linear里有个Line（直线），所以是直线叙事。Non-linear就是非直线。’托多罗夫结构可记作’平-乱-新’三步曲。
10. Genre and Hybridity: The Recipe of Media | 类型与混搭：媒体的配方
Genre is the type or category of a media text, such as horror, sci-fi, romance, or news broadcast. Each genre has its own set of codes and conventions – a horror film often includes jump scares, dark settings and a monster; a rom-com features a ‘meet-cute’ and a happy ending. A hybrid genre mixes two or more genres, like a sci-fi horror (Alien) or a romantic comedy (rom-com). Recognising genre helps audiences choose what to watch.
类型是媒体文本的种类或范畴，例如恐怖、科幻、爱情或新闻播报。每种类型都有自己的一套符码和惯例——恐怖片常包含突发惊吓、黑暗场景和怪物；爱情喜剧则会有’欢喜冤家初遇’和圆满结局。混搭类型融合了两种或更多类型，如科幻恐怖片《异形》或浪漫喜剧。识别类型能帮助观众做出选择。
Think of genre as a recipe with expected ingredients. The ingredients are the conventions. Hybrid = mixing two recipes together.
把类型想象成一份带着预期配料的食谱，配料就是惯例。混搭则是把两份食谱混在一起。
11. Audience: Who Is It For? | 受众：为谁而作？
Every media product is made with a target audience in mind. Demographics define age, gender, interests, income, and location. A teen magazine will target 13-19 year olds with relevant language and topics. There is also a primary audience (the main group) and a secondary audience (others who might also consume it). The uses and gratifications theory suggests audiences use media for information, entertainment, personal identity (relating to characters), and social interaction (talking about shows).
每个媒体产品在创作时都心里装着目标受众。人口统计学按年龄、性别、兴趣、收入和地点来定义受众。青少年杂志会以13-19岁为目标，使用相应语言和主题。还存在主要受众（核心群体）和次要受众（其他可能接触的人）。使用与满足理论认为，受众使用媒体是为获取信息、娱乐、个人身份认同（与角色共鸣）和社交互动（讨论节目）。
Remember the audience acronym: IDEA – Information, Diversion (entertainment), personal Identity, social Engagement. Also, target = bullseye, so aim your content at the centre.
记住受众需求的缩写 IDEA：信息(Information)、转移即娱乐(Diversion)、身份认同(Identity)、社交参与(Engagement)。而目标就是靶心，内容要对准靶心投放。
12. Representation: Constructing Reality | 表征：建构现实
Representation is how media shows people, places, events and ideas. It is not reality itself but a constructed version. Media producers select and mediate what we see, often reinforcing or challenging stereotypes. A stereotype is a simplified, widely shared image of a group, like ‘teenagers are lazy’ or ‘scientists are nerdy’. While stereotypes can be negative, some are used for quick recognition in comedies. Countertypes challenge the usual expectations.
表征是媒体如何呈现人物、地点、事件和观念。它不是现实本身，而是建构出来的版本。媒体制作者会挑选和处理我们看到的内容，常常强化或挑战刻板印象。刻板印象是某一群体被简化、广泛共享的形象，比如’青少年都懒惰’或’科学家都是书呆子’。刻板印象虽常带负面性，但也有的在喜剧中为快速辨认而使用。反刻板印象则挑战常规期待。
Break it down: Representation = Re-presentation – presenting something again with a slant. Stereotype = a mould (type) that has been set (stereo, from Greek for ‘solid’). Ask yourself: who is represented, how, and why?
拆词记忆：表征(Representation) = 再次呈现(Re-presentation)，即带倾向地重新呈现。刻板印象(Stereotype)来自希腊语’固体的’，像已经固化了的模子。时刻自问：谁被呈现了，如何呈现，为什么？
Published by TutorHao | Media Revision Series | aleveler.com
更多咨询请联系16621398022（同微信）
屏轩国际教育cambridge primary/secondary checkpoint, cat4, ukiset,ukcat,igcse,alevel,PAT,STEP,MAT, ibdp,ap,ssat,sat,sat2课程辅导，国外大学本科硕士研究生博士课程论文辅导