📚 SQA Year 9 Media: Quick-Reference Formula & Theorem Handbook | SQA 九年级媒体：公式定理速查手册
This handbook collects the essential formulas, theories, and rules you need for Year 9 SQA Media Studies. Each entry is presented as a clear ‘formula’ or ‘theorem’ to help you analyse media texts, from film and television to advertising and social media. Use it for quick revision and as a checklist when deconstructing any media product.
本手册汇集了九年级 SQA 媒体研究课程必备的公式、理论和法则。每个条目都以清晰的“公式”或“定理”形式呈现，帮助你分析从电影、电视到广告和社交媒体的各类媒体文本。可用于快速复习，也可作为解构任何媒体产品时的检查清单。
1. Todorov’s Narrative Formula | 托多罗夫叙事公式
Equilibrium (stable start) → Disruption (event that breaks balance) → Recognition (characters realise disruption) → Attempt to Repair (quest to restore order) → New Equilibrium (final balance, different from start).
平衡（稳定的开始）→ 打破平衡（打破平衡的事件）→ 意识到打破（角色意识到失衡）→ 试图修复（恢复秩序的追求）→ 新的平衡（最终平衡，与开头不同）。
This linear formula helps you map the plot of most mainstream films, TV dramas, and even news stories.
这一线性公式可帮助你梳理大多数主流电影、电视剧乃至新闻报道的情节结构。
2. Propp’s Character Theorem | 普罗普角色定理
Vladimir Propp identified seven recurring character types in folk tales. Think of them as ‘functions’ that drive the narrative forward.
弗拉基米尔·普罗普在民间故事中识别出七种反复出现的角色类型。可以将它们视为推动叙事前进的“功能”。
| Character Function (English) | 角色功能 (中文) |
|---|---|
| The Hero | 英雄 |
| The Villain | 反派 |
| The Donor | 捐赠者 |
| The Helper | 帮手 |
| The Princess (or Prize) | 公主（或奖赏） |
| The Dispatcher | 派遣者 |
| The False Hero | 假英雄 |
Not every story uses all seven, but you can quickly spot them in superhero films, fantasy series, and even advertisements.
并非每个故事都用全七种角色，但在超级英雄电影、奇幻剧集甚至广告中都能快速识别它们。
3. Semiotic Equation: Signifier + Signified = Sign | 符号学等式：能指 + 所指 = 符号
According to Ferdinand de Saussure, a sign is made of two parts: the signifier (the physical form, such as a word, image or sound) and the signified (the mental concept it conjures).
根据费迪南·德·索绪尔的理论，符号由两部分构成：能指（物理形式，如词语、图像或声音）和所指（它所唤起的心智概念）。
Signifier (e.g., a red rose) + Signified (romance, love) = Sign
This equation reminds you that meaning is never fixed — it depends on shared cultural codes. A skull can signify danger or pirate fashion depending on context.
这个等式提醒你，意义从来不是固定不变的——它取决于共享的文化符码。骷髅图案可以指代危险，也可以指代海盗时尚，全看语境。
4. Shot Scale Formula | 景别公式
The shot scale defines how much of the subject and surroundings the audience sees. Use this formula to describe and create meaning.
景别定义了观众看到多少主体和周围环境。用这个公式来描述并创造意义。
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 → 极特写
ELS establishes location or scale; LS shows full body and setting; MS frames from waist up for dialogue; CU focuses on face or object to reveal emotion; ECU isolates a detail like an eye or a ring.
极远景确立地点或规模；远景展示全身与环境；中景截取腰部以上，用于对话；特写聚焦面部或物体以揭示情感；极特写孤立某个细节，如眼睛或戒指。
5. Camera Angle & Movement Theorems | 摄影角度与运动定理
Angles create power relationships: High Angle Shot = Subject looks small, vulnerable (powerless). Low Angle Shot = Subject looks large, dominant (powerful). Eye-Level Shot = Equality and neutrality.
角度创造权力关系：俯拍 = 主体显得渺小、脆弱（缺乏力量）。仰拍 = 主体显得高大、主导（有力量）。平视 = 平等与中立。
Camera movement also follows predictable ‘laws’: Pan (horizontal turn) = surveys a scene. Tilt (vertical pivot) = reveals height or depth. Tracking (dolly) = follows movement, creates immersion. Zoom = draws attention rapidly, often intensifies emotion.
摄影机运动同样遵循可预测的“法则”：水平摇摄（水平旋转）= 巡视场景。垂直摇摄（垂直俯仰）= 揭示高度或深度。推拉（轨道运动）= 跟随动作，创造沉浸感。变焦 = 快速吸引注意，常强化情绪。
6. Composition Rules: Rule of Thirds & Leading Lines | 构图法则：三分法与引导线
The Rule of Thirds states that an image should be divided into nine equal segments by two vertical and two horizontal lines. Points of interest placed at the intersections become more engaging and balanced.
三分法法则指出，画面应用两条垂直线和两条水平线分成九个相等的部分。将兴趣点放在交点上，画面会更加引人入胜且平衡。
Leading lines are actual or implied lines (roads, fences, gaze direction) that guide the viewer’s eye towards the main subject. Together they form a visual formula: Framing + Lines = Controlled Gaze.
引导线是实际或暗示的线条（道路、栅栏、视线方向），引导观者眼睛看向主要主体。两者结合构成视觉公式：构图框架 + 线条 = 受控的目光。
7. Continuity Editing: The 180-Degree Rule | 连续性剪辑：180度规则
When filming a conversation or action, imagine a line (the axis of action) running between two characters. The camera must stay on one side of this line to maintain consistent screen direction. Crossing it disorients the audience.
拍摄对话或动作时，想象在两位角色之间存在一条线（动作轴线）。摄影机必须停留在该轴线的一侧，以保持一致的屏幕方向。越过轴线会让观众感到迷惑。
180-Degree Rule: Camera position ∈ One Side of Axis → Spatial Coherence
180度规则：机位保持在轴线一侧 → 空间连贯性
This rule is a cornerstone of invisible editing and is almost never broken in classical Hollywood cinema unless to create deliberate confusion.
这个规则是无缝剪辑的基石，在经典好莱坞电影中几乎从不打破，除非有意营造混乱感。
8. 30-Degree Rule and Shot-Reverse-Shot Formula | 30度规则与正反打镜头公式
The 30-Degree Rule states that when cutting from one shot of a subject to another, the camera should move by at least 30 degrees. This prevents a jarring ‘jump cut’.
30度规则指出，从对同一主体的一个镜头切到另一个镜头时，摄影机角度至少应变动30度。这可以避免突兀的“跳切”。
The Shot-Reverse-Shot formula is the standard pattern for dialogue: Character A looking off-screen → Character B looking off-screen in opposite direction → return to A. This builds a smooth, believable exchange.
正反打镜头公式是对白拍摄的标准模式：角色A望向画面外 → 角色B望向画面外相反方向 → 回到A。这构成了流畅、可信的交流。
9. Sound Design Formula | 声音设计公式
Sound in media can be categorised using a clear binary: Diegetic Sound (belongs to the story world — dialogue, footsteps, radio playing) vs Non-Diegetic Sound (exists outside the story world — voiceover narration, background score, added sound effects).
媒体中的声音可用清晰的二元分类：剧情声（属于故事世界——对白、脚步声、收音机音乐）对比非剧情声（存在于故事世界之外——画外旁白、背景配乐、外加音效）。
Then apply the functions: Sound creates mood, reveals character, drives narrative, or provides continuity. A soundtrack formula = Leitmotif + Ambient + Sync Sound.
再运用其功能：声音创造情绪、揭示角色、驱动叙事或提供连续性。配乐公式 = 主导动机 + 环境声 + 同步声。
10. Mise-en-Scène Checklist | 场面调度检查表
Mise-en-scène is everything placed in front of the camera. Use this checklist theorem to decode meaning.
场面调度指摄影机前放置的一切。使用这份检查表定理来解读含义。
- Setting & Props/场景与道具 — Where and when? What objects reinforce the theme?
- Costume & Make-up/服装与化妆 — How do they signal character, status, or change?
- Lighting & Colour/灯光与色彩 — High-key (bright, even) or low-key (shadowy, contrast)? Warm vs cool palette?
- Figure Expression & Blocking/人物表情与走位 — Posture, facial expressions, and position within the frame.
Remember: nothing in the frame is accidental. Every element is a sign ready to be decoded with your semiotic equation.
记住：画面中没有偶然。每个元素都是一个等待你用符号学等式解码的符号。
11. Audience Theories: Uses and Gratifications Model | 受众理论：使用与满足模型
Blumler and Katz proposed that audiences actively consume media to fulfil specific needs. The model can be remembered as the WHY formula.
布鲁姆勒和卡茨提出，受众主动消费媒体以满足特定需求。这个模型可记为 WHY 公式。
| Need (English) | 需求 (中文) |
|---|---|
| Information & Surveillance | 信息与监视 |
| Personal Identity | 个人身份认同 |
| Integration & Social Interaction | 整合与社会交往 |
| Entertainment & Escapism | 娱乐与逃避现实 |
When analysing a media text, ask which need it satisfies. A celebrity gossip magazine might serve personal identity and entertainment, while a news app serves information and social interaction.
分析媒体文本时，问它满足了哪种需求。名人八卦杂志可能服务于个人身份认同和娱乐，而新闻应用服务于信息和社会交往。
12. Media Industry Ownership Formula | 媒体产业所有权公式
Understanding who makes and owns media is crucial. Use the concentration formula: a small number of conglomerates own a huge share of outlets. This is often represented as horizontal integration (owning across same level) and vertical integration (owning supply chain).
理解谁制造和拥有媒体至关重要。使用集中公式：少数大型集团拥有大量媒体出口。这常表现为横向整合（拥有同层级的媒体）和纵向整合（拥有供应链）。
Public Service Broadcasting (PSB) vs Commercial: PSB is funded by licence fee or tax; aims to inform, educate, entertain. Commercial media relies on advertising and subscriptions; aims for profit.
公共服务广播 vs 商业广播：公共服务广播由执照费或税收资助；目标是告知、教育、娱乐。商业媒体依赖广告和订阅；目标在于盈利。
This formula helps you question bias: Who funds the content? Who might benefit from its message?
这个公式帮助你质疑偏见：谁资助了内容？谁会从其信息中受益？
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