📚 Year 9 WJEC Media Studies: Formulas & Theorems Quick Reference | Year 9 WJEC 媒体：公式定理速查手册
This handbook brings together the essential formulas, theorems, and conceptual models that form the foundation of Year 9 WJEC Media Studies. From semiotics and narrative structures to audience theories and composition rules, each entry is presented as a clear, memorable formula or theorem to support your analysis and production work. Use this guide to decode media texts quickly and to strengthen your written responses with precise academic terminology.
本手册汇集了 Year 9 WJEC 媒体研究课程中基础而关键的公式、定理与概念模型。从符号学和叙事结构到受众理论与构图规则，每一条目都以清晰易记的公式或定理形式呈现，帮助你快速解码媒体文本，并用准确的学术术语强化你的书面回答。
1. Signs and Semiotics | 符号与符号学
Semiotics is the study of signs. Ferdinand de Saussure proposed that every sign is composed of two inseparable parts: the signifier (the physical form, such as a word or image) and the signified (the mental concept it triggers). The relationship between them is arbitrary and governed by cultural codes. This foundational theorem underpins all analysis of media language.
符号学研究的是符号。索绪尔提出，每个符号都由两个不可分割的部分组成：能指（物理形式，例如词语或图像）与所指（它在脑海中触发的概念）。二者之间的关系是任意的，由文化符码支配。这条基础定理支撑着所有媒体语言分析。
Sign = Signifier + Signified
2. The Narrative Formula | 叙事公式
Tzvetan Todorov described narrative as a movement between states of equilibrium. Most stories follow a five-stage formula: an initial equilibrium is disrupted by an event, the disruption is recognised, an attempt is made to repair the damage, and a new equilibrium is finally achieved. This structure can be spotted across film, television drama and advertising narratives.
托多罗夫将叙事描述为不同平衡状态之间的运动。大多数故事都遵循一个五阶段公式：初始的平衡被事件打破，失衡被察觉，人们尝试修复损伤，最终达成新的平衡。这一结构在电影、电视剧和广告叙事中都随处可见。
Equilibrium → Disruption → Recognition → Attempt to Repair → New Equilibrium
3. Propp’s Character Functions | 普罗普的角色功能定理
After studying Russian fairytales, Vladimir Propp concluded that all narratives feature a fixed set of character types, each performing a specific function. Though originally applied to folklore, these character roles also appear in modern media texts. The theorem can be summarised as seven core roles that drive the plot forward.
通过对俄罗斯童话的研究，普洛普得出结论：所有叙事都包含一组固定的角色类型，每种角色承担一项特定功能。尽管最初应用于民间故事，这些角色同样出现在现代媒体文本中。该定理可归纳为推动情节发展的七种核心角色。
| Role | Function |
|---|---|
| Hero | Seeks something or someone |
| Villain | Opposes the hero |
| Dispatcher | Sends the hero on the quest |
| Donor | Provides a magical object or help |
| Helper | Aids the hero |
| Princess | Often the reward |
| False Hero | Claims to be the hero but is not |
4. Binary Oppositions Theorem | 二元对立定理
Claude Levi-Strauss argued that meanings in media are constructed through opposing concepts, such as good versus evil, civilisation versus wilderness, or young versus old. These binary oppositions create dramatic conflict and organise our understanding of characters and themes. When analysing a text, identifying the central oppositions reveals the underlying ideology.
列维-斯特劳斯认为，媒体中的意义通过相互对立的概念构建，例如善与恶、文明与荒野、年轻与年老。这些二元对立制造戏剧冲突，并组织我们对角色和主题的理解。分析文本时，识别核心对立关系能够揭示潜藏的意识形态。
Meaning emerges from A ↔ B (e.g. Hero ↔ Villain, Safety ↔ Danger)
5. The Encoding/Decoding Model | 编码/解码模型
Stuart Hall’s theorem of communication states that a media producer encodes a message into a text, which is then decoded by the audience. However, decoding may not match the intended meaning: an audience can take a dominant/preferred reading, a negotiated reading, or an oppositional reading. This formula highlights that meaning is not fixed but is created at the moment of reception.
斯图亚特·霍尔的传播定理指出，媒体制作者将信息编码进文本，随后由受众进行解码。然而，解码未必与原意吻合：受众可以采取主导/偏好式解读、协商式解读或对抗式解读。这一公式强调，意义并非固定的，而是在接受瞬间被创造出来。
Meaning = Encoding (by producer) → Text → Decoding (by audience)
6. Uses and Gratifications Formula | 使用与满足公式
Instead of asking what media do to people, Blumler and Katz asked what people do with media. Their theorem identifies four core needs that audiences seek to satisfy through media consumption: surveillance (information), personal identity, personal relationships (social interaction), and diversion (entertainment/escapism). The formula below helps memorise these motivations.
布鲁姆勒和卡茨没有追问媒体对人们做了什么，而是反过来问人们用媒体做什么。他们的定理确定了受众通过媒体消费来满足的四项核心需求：监视（信息）、个人身份认同、人际关系（社会互动）以及消遣（娱乐/逃避）。下面的公式有助于记忆这些动机。
Audience Needs = Information + Personal Identity + Social Interaction + Entertainment
7. Composition Rules | 构图定则
Visual media rely on compositional theorems to guide the viewer’s eye and construct meaning. The rule of thirds divides the frame into a 3×3 grid; placing key elements along these lines or their intersections creates balance and dynamic tension. Similarly, leading lines, symmetry, and depth of field work as visual theorems that structure how we read an image.
视觉媒体依靠构图定理来引导观众视线并建构意义。三分法将画面分割为3×3网格；将关键元素放置在这些线条或交点上能够产生平衡感与动态张力。同样地，引导线、对称和景深作为视觉定理，构建着我们解读图像的方式。
Focal Point ≈ Intersection of Thirds (Rule of Thirds)
8. Camera Shots and Angles Formulae | 镜头景别与角度公式
Shot size and camera angle each carry connotative meanings. A simple formula links the choice of shot to its likely effect: an extreme close-up (ECU) often signifies emotion or intensity, while a high-angle shot can make a character appear vulnerable. Combining shot size and angle generates different representational outcomes.
景别和镜头角度各自携带隐含意义。一个简单公式能将镜头选择与其可能效果联系起来：大特写通常代表情感或强度，而俯拍镜头会使角色显得脆弱。景别与角度的组合会产生不同的表征效果。
- Shot size connotation: ECU = strong emotion; LS = context and isolation.
- Angle connotation: High angle = powerlessness; Low angle = power and dominance.
Meaning ≈ Shot Size × Camera Angle
9. Genre Formula | 类型公式
A media genre is not simply a label; it is defined by a recurring set of ingredients. According to media theory, genre can be expressed as a formula that blends iconography, settings, character types, and narrative patterns. Audiences recognise a genre through these consistent elements, but genres also evolve as producers experiment and subvert conventions.
媒体类型不只是一个标签；它由一组反复出现的要素所定义。根据媒体理论，类型可用一个融合了图像志、场景、角色类型和叙事模式的公式来表达。受众通过这一系列稳定元素来辨识类型，但类型也会随着制作者的实验和对惯例的颠覆而演变。
Genre = Iconography + Setting + Stock Characters + Narrative Conventions
10. Representation Formula | 表征公式
Representation is never a neutral mirror of reality. Media texts select certain aspects, construct a particular version, and mediate it through technical and editorial choices. The resulting representation shapes audience perceptions of people, places, and issues. The theorem of representation can be remembered as a three-part process.
表征从来不是对现实的中立镜像。媒体文本选取某些方面，建构一个特定版本，并通过技术和编辑选择进行中介。由此产生的表征塑造了受众对人物、地点和议题的认知。表征的定理可被记为一个三阶段过程。
Representation = Selection + Construction + Mediation
11. Star Image Formula | 明星形象公式
Richard Dyer argued that a star is not a real person but a constructed image that circulates across media. This image is built from a combination of publicity, promotion, the work they produce, and audience commentary. The star formula helps explain how celebrity identities are manufactured and consumed.
理查德·戴尔认为，明星并非真实的人，而是跨媒体流通的被建构的形象。这一形象由宣传、推销、其作品以及受众评论共同组成。明星公式有助于解释名人身份是如何被制造和消费的。
Star Image = Publicity + Promotion + Media Texts + Audience Discourse
12. The Media Literacy Equation | 媒介素养等式
Media literacy involves the ability to access, analyse, evaluate, and create media. A useful formula for revision sees media literacy as the intersection of knowledge about media industries, awareness of representation, analytical skills, and creative production. Strengthening any side of this equation will improve your overall understanding and your exam performance.
媒介素养涉及获取、分析、评价和创作媒体的能力。一个有用的复习公式将媒介素养视为对媒体产业的认识、对表征的意识、分析技能和创意制作这四者的交汇。强化这个等式的任何一边，都能提升你的整体理解力与应试表现。
Media Literacy = Industry Knowledge + Representation Awareness + Analysis + Production Skills
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