Year 9 CIE Media Studies: Vocabulary & Terminology Quick Guide | 九年级CIE媒体研究：词汇术语速记指南

📚 Year 9 CIE Media Studies: Vocabulary & Terminology Quick Guide | 九年级CIE媒体研究：词汇术语速记指南

Welcome to your essential quick guide for Year 9 CIE Media Studies. Mastering the key vocabulary and terminology is the first step to analysing any media text with confidence. This bilingual revision article provides clear definitions and examples side by side in English and Chinese, helping you learn faster and retain concepts longer. From camera shots to narrative codes, you will build a solid foundation for your IGCSE journey.

欢迎使用九年级CIE媒体研究必备速记指南。掌握关键词汇和术语是自信分析任何媒体文本的第一步。这篇双语复习文章以中英文对照方式提供清晰的定义和示例，帮助你更快学习、更久记忆。从镜头类型到叙事符码，你将为IGCSE学习打下坚实基础。

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1. Media Language & Sign Systems | 媒体语言与符号系统

Media language consists of the codes and conventions that media producers use to communicate meaning. It works like a grammar: every image, sound, and word carries a message.

媒体语言由媒体生产者用于传达意义的符码与惯例组成。它就像语法一样：每个图像、声音和词语都承载着信息。

A sign is anything that stands for something else. It includes a signifier (the physical form, such as a red heart emoji) and a signified (the concept, such as love).

符号是代表其他事物的任何东西。它包括能指（物理形式，如红色心形表情符号）和所指（概念，如爱）。

Denotation is the literal, direct meaning of a sign. For example, a snake denotes a legless reptile.

外延是符号的字面、直接意义。例如，一条蛇的外延是一种无腿爬行动物。

Connotation is the associated, cultural meaning. A snake connotes danger, temptation, or evil in many contexts.

内涵是关联的文化意义。在许多语境中，蛇的内涵是危险、诱惑或邪恶。

Anchorage occurs when words fix or ‘anchor’ the meaning of an image. A caption under a photo restricts its possible interpretations.

锚定是指文字固定或“锚定”图像的意义。照片下的说明文字会限制其可能的解读。

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2. Camera Shots & Angles | 镜头景别与角度

Camera framing controls how much of a subject and its surroundings are visible. Each shot distance creates a different psychological effect and is chosen for a specific narrative purpose.

镜头构图控制主体及其周围可见的程度。每种景别产生不同的心理效果，并为特定叙事目的而选择。

An extreme long shot (ELS) shows a vast area, often used to establish location and scale. The human figure appears tiny or absent.

极远景镜头展现广阔区域，常用于交代地点和规模。人物显得很小或不存在。

A long shot (LS) captures the full body from head to toe. It places characters in their environment while still showing their actions clearly.

全景镜头从头到脚拍摄全身。它将人物置于环境中，同时清晰地展示其动作。

A medium shot (MS) frames a subject from the waist up. It is common in dialogue scenes because it balances character and setting.

中景镜头从腰部以上取景。它在对话场景中很常见，因为它平衡了人物与场景。

A close-up (CU) focuses on a character’s face or an object. It reveals subtle emotions and forces the audience to pay attention to detail.

特写镜头聚焦于人物的面部或物体。它揭示微妙的情绪，迫使观众注意细节。

A low-angle shot looks up at a subject, making it appear powerful, dominant, or threatening. A high-angle shot looks down, making a character seem vulnerable or weak.

低角度镜头仰视主体，使其显得强大、主导或具有威胁性。高角度镜头俯视，使人物显得脆弱或弱小。

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3. Camera Movement | 镜头运动

Moving the camera adds dynamism and guides the viewer’s attention. Different movements create distinct emotional rhythms and can reveal information smoothly.

移动镜头增添动感并引导观众的注意力。不同的运动创造独特的情感节奏，并能流畅地揭示信息。

A pan rotates the camera horizontally from a fixed position, like turning your head left or right. It often scans a landscape or follows action across a scene.

摇镜是从固定位置水平旋转摄像机，就像左右转动头部。它通常用于扫描风景或跟随场景中的动作。

A tilt moves the camera vertically: tilting up reveals height or aspiration, while tilting down can suggest disappointment or discover something below.

俯仰运动是垂直移动摄像机：向上仰摄揭示高度或渴望，向下俯摄可能暗示失望或发现下方之物。

A tracking shot (or dolly shot) physically moves the camera along a track, following a subject smoothly. It creates a sense of immersion and fluidity.

推轨镜头沿轨道物理移动摄像机，平滑地跟随主体。它营造出沉浸感和流畅感。

A zoom changes the focal length without moving the camera. A zoom-in magnifies a detail for emphasis, while a zoom-out reveals context.

变焦是改变焦距而不移动摄像机。推近放大细节以强调，拉远则揭示上下文。

A handheld shot is deliberately shaky, often used to convey realism, chaos, or documentary-style urgency.

手持镜头故意晃动，常用于传达现实主义、混乱或纪录片式的紧迫感。

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4. Editing: The Invisible Art | 剪辑：无形的艺术

Editing is the process of selecting and joining shots to create a meaningful sequence. It controls time, pace, and the audience’s emotional journey.

剪辑是选择并连接镜头以创造有意义序列的过程。它控制时间、节奏和观众的情感旅程。

A cut is the most basic transition: an instant change from one shot to another. Continuity editing hides cuts to make action appear seamless.

切是最基本的转场：一个镜头瞬间变为另一个。连贯性剪辑隐藏切点，使动作看起来无缝。

A fade gradually darkens the screen to black (fade-out) or lightens from black (fade-in). It often signals the end or beginning of a scene.

淡变是逐渐将屏幕变暗至黑色（淡出）或从黑色变亮（淡入）。它常表示场景的结束或开始。

A dissolve overlaps the end of one shot with the beginning of the next. It can suggest a connection or a passage of time.

叠化将一个镜头的结尾与下一个镜头的开头重叠。它可以暗示关联或时间流逝。

Shot/reverse shot is a classic editing pattern for dialogue, alternating between two characters facing each other. It maintains spatial continuity and reaction rhythm.

正反打是对白场景的经典剪辑模式，交替显示面对面的两个角色。它维持空间连贯性和反应节奏。

Cross-cutting (or parallel editing) alternates between two or more scenes happening simultaneously, building suspense by showing connected events.

交叉剪辑交替展现同时发生的多个场景，通过展示关联事件来制造悬念。

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5. Sound: Diegetic & Non-Diegetic | 声音：剧情内与剧情外

Sound shapes atmosphere and meaning as powerfully as image. Media analysis divides sound into two worlds: the story world and the production world.

声音和图像一样有力量塑造氛围和意义。媒体分析将声音分为两个世界：故事世界和制作世界。

Diegetic sound comes from sources within the film’s world. Characters can hear it: dialogue, footsteps, a radio playing, or a slamming door.

剧情内声音来自影片世界中的声源。角色能够听到它：对话、脚步声、播放的收音机或关门声。

Non-diegetic sound exists outside the story world. Only the audience hears it: background music (the score), a narrator’s voice-over, or added sound effects like a suspenseful sting.

剧情外声音存在于故事世界之外。只有观众能听到：背景音乐（原声配乐）、旁白叙述，或添加的音效如悬疑重音。

Sound bridge is when sound from the next scene begins before the current image ends, linking two scenes smoothly.

声音桥梁是下一场景的声音在当前画面结束前就开始，将两个场景平滑连接。

Ambient sound (or atmosphere) is the background noise of an environment, such as birds chirping or traffic hum. It establishes location and realism.

环境音是环境的背景噪音，如鸟鸣或交通嘈杂声。它确立地点和真实感。

Synchronous sound matches the action precisely, like lip movement with spoken words. Asynchronous sound deliberately mismatches, creating unease or comedy.

同步声音与动作精确匹配，如口型与说话。非同步声音故意不匹配，产生不安或喜剧效果。

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6. Mise-en-Scène: What’s in the Frame | 场面调度：画面中的一切

Mise-en-scène is a French term meaning ‘putting on stage’. It refers to everything visible within the frame: setting, costume, lighting, props, and actor positioning.

场面调度是法语术语，意为“放置于舞台上”。它指画面中可见的一切：场景、服装、灯光、道具和演员位置。

Setting can be a real location or a built studio set. It instantly communicates time period, social status, and mood, like a futuristic city or a cosy cottage.

场景可以是真实地点或搭建的摄影棚布景。它立即传达时代、社会地位和情绪，如未来城市或舒适小屋。

Costume and make-up define character identity. A uniform suggests discipline, while ragged clothes imply poverty or rebellion.

服装与化妆定义角色身份。制服暗示纪律，而破旧衣服意味着贫穷或反叛。

Lighting creates atmosphere and directs the eye. High-key lighting is bright and low-contrast, used in comedies. Low-key lighting has strong shadows and contrasts, common in horror or film noir.

灯光营造气氛并引导视线。高调照明明亮且低对比，用于喜剧。低调照明有强烈阴影和对比，常见于恐怖片或黑色电影。

Colour palette in mise-en-scène carries symbolic weight. Blue tones suggest coldness or calm; red tones signal passion, danger, or anger.

场面调度中的色彩调色板具有象征分量。蓝色调暗示寒冷或平静；红色调表示激情、危险或愤怒。

Blocking is the arrangement of actors within the frame. Proxemics (the distance between characters) reveals relationships: closeness suggests intimacy, distance suggests conflict.

走位是画面内演员的安排。空间关系（角色之间的距离）揭示关系：亲密暗示亲近，距离暗示冲突。

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7. Narrative Codes & Structures | 叙事符码与结构

Narrative is how a story is told — the arrangement of events and the codes that drive the audience forward. Media texts use recognisable patterns to keep us engaged.

叙事是故事被讲述的方式——事件的安排和驱动观众前进的符码。媒体文本使用可识别的模式来保持我们的参与。

Linear narrative presents events in chronological order, from beginning to end. Non-linear narrative jumps around in time using flashbacks or flash-forwards.

线性叙事按时间顺序呈现事件，从头到尾。非线性叙事通过闪回或闪前在时间中跳跃。

According to Tzvetan Todorov, many stories follow an equilibrium–disruption–new equilibrium structure. Equilibrium is broken by a problem, which is then resolved.

根据茨维坦·托多罗夫，许多故事遵循平衡—打破平衡—新平衡的结构。平衡被问题打破，随后得到解决。

Binary opposition, a concept from Claude Lévi-Strauss, refers to pairs of opposite ideas that create conflict and structure meaning, such as good vs. evil or civilisation vs. wilderness.

二元对立是克洛德·列维-斯特劳斯提出的概念，指成对的对立观念，它们创造冲突并构建意义，如善与恶或文明与荒野。

Enigma codes (from Roland Barthes) are puzzles or questions that hook the audience. A mystery or an unresolved cliffhanger makes us want to continue watching.

谜题符码（来自罗兰·巴特）是吊住观众胃口的谜题或问题。一个谜团或未解决的悬念让我们想要继续观看。

Action codes are visual or audio elements that signal what will happen next, like a character drawing a weapon, which suggests an imminent fight.

行动符码是预示接下来会发生什么的视觉或听觉元素，如角色拔出武器，暗示即将发生打斗。

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8. Representation & Stereotypes | 表征与刻板印象

Representation is the way media re-presents the world. It is never a simple mirror; it is a constructed version of reality shaped by selection, omission, and creative choices.

表征是媒体重新呈现世界的方式。它从来不是简单的镜子；它是通过选择、省略和创意选择构建的现实版本。

Stereotypes are over-simplified, repeated representations of a group based on characteristics like gender, age, or ethnicity. While often negative, they can also be positive or used for quick communication.

刻板印象是对某一群体基于性别、年龄或种族等特征的过度简化和重复表现。虽然常为负面，它们也可以是正面的或用于快速传达信息。

Countertypes challenge traditional stereotypes. A female action hero who is physically strong and emotionally independent can subvert the typical ‘damsel in distress’ expectation.

反类型挑战传统刻板印象。一个身体强壮、情感独立的女性动作英雄可以颠覆典型的“落难少女”期待。

Under-representation occurs when certain groups are rarely shown in mainstream media, making their experiences invisible. Misrepresentation is when they are shown in inaccurate or harmful ways.

表征不足指某些群体在主流媒体中很少出现，使他们的经历不可见。错误表征则指他们被以不准确或有害的方式呈现。

The male gaze, a term coined by Laura Mulvey, describes how visual media often present women from a heterosexual male perspective, objectifying them as passive objects of desire.

男性凝视是劳拉·穆尔维创造的术语，描述视觉媒体常以异性恋男性视角呈现女性，将她们物化为被动的欲望对象。

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9. Audience & Reception | 受众与接受

Every media text targets an audience, and understanding how audiences are categorised, reached, and affected is central to Media Studies.

每个媒体文本都针对受众，理解受众如何被分类、触达和影响是媒体研究的核心。

Target audience is the specific group a media product is aimed at, defined by demographics (age, gender, income) and psychographics (values, interests, lifestyle).

目标受众是媒体产品所针对的特定群体，由人口统计特征（年龄、性别、收入）和心理特征（价值观、兴趣、生活方式）界定。

The uses and gratifications theory suggests that audiences actively choose media to meet needs: information, personal identity, social interaction, and entertainment.

使用与满足理论认为受众主动选择媒体来满足需求：信息获取、个人认同、社会互动和娱乐。

Hypodermic syringe model (or magic bullet theory) is an older view that media injects ideas directly into passive audiences, causing an immediate and uniform effect. Today it is seen as too simplistic.

皮下注射模型（或魔弹论）是一种旧观点，认为媒体将思想直接注入被动的受众，产生即时和一致的效果。如今这被认为过于简单化。

Preferred reading is the meaning intended by the producer; oppositional reading is when the audience rejects that meaning based on their own beliefs; negotiated reading partially accepts and partially modifies it.

偏好式解读是生产者意图的意义；对抗式解读是受众基于自身信念拒绝该意义；协商式解读则部分接受、部分调整。

Reception theory, associated with Stuart Hall, emphasizes that meaning is created in the interaction between text and reader, not fixed by the producer alone.

接受理论，与斯图亚特·霍尔相关，强调意义是在文本与读者的互动中创造出来的，而不单由生产者固定。

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10. Genre, Hybridity & Institutions | 类型、混搭与机构

Genre categorises media texts by shared conventions. Understanding genre helps audiences set expectations and helps producers target markets, but boundaries are often blurred.

类型通过共享的惯例对媒体文本进行分类。理解类型有助于受众设定预期，帮助生产者瞄准市场，但界限往往模糊。

Genre conventions are the typical ingredients: iconography (objects, settings), narrative patterns, character types, and stylistic techniques that identify a genre, like spaceships in sci-fi or the final girl in horror.

类型惯例是典型的要素：识别类型的图像学（物体、场景）、叙事模式、角色类型和风格技巧，如科幻中的宇宙飞船或恐怖片中的最后女孩。

Hybrid genre mixes conventions from two or more genres. A rom-com blends romance and comedy; a docu-drama merges documentary and drama.

混合类型混合了两种或更多类型的惯例。浪漫喜剧融合了爱情与喜剧；纪录剧情片融合了纪录片与戏剧。

Subgenre is a more specific category within a genre, such as slasher horror, sitcom comedy, or dystopian science fiction.

亚类型是类型内更具体的类别，如血腥恐怖片、情景喜剧或反乌托邦科幻片。

Media institutions are the organisations that produce, distribute, and regulate media texts. They include broadcasters (BBC), production studios (Disney), and regulatory bodies (Ofcom in the UK).

媒体机构是生产、发行和监管媒体文本的组织。它们包括广播公司（BBC）、制片厂（迪士尼）和监管机构（英国的Ofcom）。

Vertical integration is when an institution owns different stages of production, distribution, and exhibition. This allows greater control and profit, but raises concerns about market concentration.

垂直整合是指机构拥有制作、发行和放映的不同阶段。这可以更好地控制和提高利润，但也引发对市场集中的担忧。

Published by TutorHao | Media Studies Revision Series | aleveler.com

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