Year 9 WJEC Media: Case Study Practice in Action | 九年级 WJEC 媒体：案例分析实战演练

📚 Year 9 WJEC Media: Case Study Practice in Action | 九年级 WJEC 媒体：案例分析实战演练

In WJEC Media Studies, a case study is an in-depth investigation of a specific media text. This practical exercise will guide you through the analysis of the official trailer for ‘Spider-Man: Into the Spider-Verse’, applying key media concepts such as media language, representation, and audience. By breaking down the trailer shot by shot, you will learn how to construct a detailed, exam-ready response.

在WJEC媒体研究中，案例分析是对特定媒体文本的深入探究。本次实战练习将引导你分析电影《蜘蛛侠：平行宇宙》的官方预告片，运用媒体语言、表征和受众等关键媒体概念。通过逐镜头拆解预告片，你将学会如何构建一份详细且适用于考试的答题内容。

1. Introduction to the Chosen Media Text | 选定媒体文本简介

The media text selected for this case study is the official trailer for ‘Spider-Man: Into the Spider-Verse’ (2018), directed by Bob Persichetti, Peter Ramsey, and Rodney Rothman. This animated superhero film is notable for its groundbreaking visual style, blending computer animation with comic-book techniques. The trailer introduces us to Miles Morales, a teenager who gains spider-powers and must team up with other Spider-People from parallel universes. It is an ideal text for analysis because it offers rich examples of media language, representation of diversity, and targeted audience appeal.

本案例分析选取的媒体文本是2018年《蜘蛛侠：平行宇宙》的官方预告片，由鲍勃·佩尔西凯蒂、彼得·拉姆齐和罗德尼·罗斯曼联合执导。这部动画超级英雄电影以其开创性的视觉风格而著称，融合了计算机动画与漫画手法。预告片向我们介绍了迈尔斯·莫拉莱斯，一位获得蜘蛛能力的青少年，他必须与其他平行宇宙的蜘蛛侠组队。该文本是分析的理想选择，因为它提供了丰富的媒体语言范例、多样性表征以及精准的受众吸引力。

2. Media Language: Camera Shots and Angles | 媒体语言：镜头与角度

Camera shots and angles are fundamental tools in constructing meaning. In the opening scene of the trailer, an extreme long shot establishes the urban setting of Brooklyn, conveying the scale of Miles’s world. A low-angle shot of Miles looking up at a tall building makes him appear vulnerable, emphasizing his ordinary life before his transformation. Conversely, when he first puts on the Spider-Man suit, a high-angle shot looks down on him, then transitions to a heroic low-angle shot as he swings through the city, symbolizing empowerment. Close-ups of Miles’s face, especially his eyes behind the mask, allow the audience to connect emotionally with his anxiety and excitement.

镜头与角度是构建意义的基本工具。在预告片开场，一个大远景镜头确立了布鲁克林的城市背景，传达了迈尔斯所处世界的尺度。一个仰拍镜头展示迈尔斯仰望高楼，使他显得脆弱，强调了他变身前的平凡生活。相反，当他首次穿上蜘蛛侠战衣时，一个俯拍镜头从上方俯视他，随后在他穿梭城市时切换为英勇的仰拍镜头，象征着力量的获得。迈尔斯面部的特写镜头，尤其是面具后的双眼，让观众在情感上与他内心的焦虑和兴奋产生共鸣。

The trailer also employs a point-of-view (POV) shot when Miles first tests his web-swinging, placing viewers directly into his disorienting experience. This creates empathy and engagement. A dolly zoom effect is used when Miles realises the multiverse colliding, visually emphasising the shocking revelation.

预告片还使用了主观视角 (POV) 镜头，当迈尔斯首次尝试蛛丝摆荡时，将观众直接带入他天旋地转的体验中，营造出共情与参与感。当迈尔斯意识到多元宇宙碰撞时，使用了推拉变焦效果，在视觉上强化了这令人震惊的揭示。

3. Media Language: Mise-en-Scène | 媒体语言：场景调度

Mise-en-scène refers to everything placed in front of the camera: setting, props, costume, lighting, and colour. The trailer makes bold use of comic-book aesthetics, with onomatopoeic words like ‘BOOM’ and ‘POW’ appearing on screen as part of the environment. The setting of Brooklyn is depicted with a graffiti-inspired colour palette, reflecting street art culture. Miles’s costume evolution from baggy streetwear to a sleek Spider-Man suit signifies his identity transformation. The use of neon lighting and halftone dot patterns (Ben-Day dots) directly references classic comic printing, immersing the audience in a graphic-novel experience.

场景调度指镜头前的一切：布景、道具、服装、灯光和色彩。预告片大胆运用漫画美学，拟声词如 ‘BOOM’ 和 ‘POW’ 作为环境的一部分出现在屏幕上。布鲁克林的背景以涂鸦风格色彩呈现，反映街头艺术文化。迈尔斯从宽松的街头服饰到贴身的蜘蛛侠战衣的服装演变，标志着他身份的转变。霓虹灯光和半色调网点（本·戴点）的使用直接借鉴经典漫画印刷，将观众带入平面小说的体验中。

Lighting is used expressively: scenes in Miles’s normal life are lit with warm, natural tones, while supervillain encounters are dominated by cold, high-contrast purple and green hues, creating an ominous atmosphere. The clutter of a teenager’s bedroom with posters and sneakers reinforces the authenticity of Miles as a relatable character.

灯光的使用富有表现力：迈尔斯日常生活的场景采用温暖的、自然的色调，而与超级反派的遭遇则以冷酷、高对比度的紫色和绿色为主，营造出不祥的氛围。青少年卧室里贴满海报和运动鞋的杂乱景象，强化了迈尔斯作为一个可亲近角色的真实感。

4. Media Language: Sound and Music | 媒体语言：声音与音乐

Sound design in the trailer is carefully layered to enhance narrative and emotion. The soundtrack kicks in with the energetic hip-hop track ‘Sunflower’ by Post Malone and Swae Lee, immediately establishing a youthful, urban vibe. Diegetic sounds, such as the thwip of web-shooters, punches, and the screech of subway trains, add realism and weight to action sequences. Silence is also used strategically: before a major reveal, the music drops out, heightening anticipation. The voice-over narration by Miles guides the audience through his personal journey, making the story feel intimate and personal.

预告片的声音设计经过精心分层，以增强叙事和情感。配乐以Post Malone和Swae Lee演唱的充满活力的嘻哈歌曲 ‘Sunflower’ 开场，立刻确立了年轻、都市的氛围。有源声音，如蛛网发射器的 ‘嗖’ 声、打击声和地铁列车的尖啸声，为动作序列增添了真实感和分量。寂静也被策略性地使用：在一个重大揭示之前，音乐突然停止，增强了期待感。迈尔斯的旁白引导观众经历他的个人旅程，使故事感觉亲切而个人化。

The contrasting use of a more orchestral, heroic theme when multiple Spider-People appear signals the expansion of the narrative. Sound bridges connect scenes, blending diegetic dialogue from one shot with the next image, maintaining momentum.

当多位蜘蛛侠出现时，对比性地使用更交响化、英雄式的主题曲，预示着叙事的扩展。声音桥接连接场景，将一个镜头的有源对话与下一个画面混合，保持了节奏。

5. Media Language: Editing Techniques | 媒体语言：剪辑技巧

Editing controls pace and the relationship between shots. The trailer uses rapid montage editing to compress time, showing Miles’s transformation from a nervous student to a confident hero in seconds. Split-screen techniques mimic comic-book panels, presenting multiple universes simultaneously. Slow motion is applied to key action moments, such as Miles’s leap of faith, allowing the audience to savour the visual detail and emotional weight. Cross-cutting between the mentor figure Peter B. Parker and Miles highlights their burgeoning partnership.

剪辑控制着节奏以及镜头之间的关系。预告片使用快速蒙太奇剪辑来压缩时间，在数秒内展示迈尔斯从一名紧张学生到自信英雄的蜕变。分屏技法模仿漫画画格，同时呈现多个宇宙。慢动作被应用于关键动作时刻，例如迈尔斯的信仰之跃，让观众细细品味视觉细节与情感重量。导师角色彼得·B·帕克与迈尔斯之间的交叉剪辑突显了他们逐渐发展的搭档关系。

Graphic match cuts are employed when a shape in one shot transforms into a similar shape in the next, such as a circular subway tunnel transitioning into the Spider-Man logo. This creates a seamless, stylised flow that reinforces the comic-book aesthetic.

图形匹配剪辑被采用，当一个镜头中的形状转变为下一个镜头中类似的形状，比如圆形的地铁隧道过渡到

Published by TutorHao | Year 9 媒体 Revision Series | aleveler.com

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