Year 10 CIE Media Studies: Vocabulary & Terminology Quick Guide | CIE 十年级媒体研究：词汇术语速记指南

📚 Year 10 CIE Media Studies: Vocabulary & Terminology Quick Guide | CIE 十年级媒体研究：词汇术语速记指南

Mastering key media terminology is essential for success in the CIE Media Studies course. This quick guide covers vital terms across media language, narrative, representation, audience, institutions and more, with bilingual explanations to aid memory and understanding.

掌握关键媒体术语对于在CIE媒体研究课程中取得成功至关重要。本速记指南涵盖媒体语言、叙事、表征、观众、机构等领域的重要术语，并附有双语解释以帮助记忆和理解。

1. Semiotics and Sign Systems | 符号学与符号系统

Denotation: The literal, face-value meaning of a sign – what you actually see or hear. In a photograph of a rose, the denotation is simply a red flower.

外延：符号的字面、表面意义，即你实际看到或听到的内容。在一张玫瑰的照片中，外延仅是一朵红色的花。

Connotation: The deeper, cultural or emotional associations a sign carries. A red rose may connote love, passion or even political allegiance (e.g. the red rose as a symbol of the Labour Party).

内涵：符号所承载的更深层的文化或情感联想。红玫瑰可能内涵爱情、激情，甚至政治忠诚（例如红玫瑰作为工党的象征）。

Signifier: The physical form of a sign – a word, image, sound or gesture that conveys meaning.

能指：符号的物理形式——传递意义的词语、图像、声音或手势。

Signified: The mental concept or meaning that the signifier refers to. In the word “dog”, the letters d-o-g make up the signifier; the furry four-legged animal is the signified.

所指：能指引出的心理概念或意义。在词语 “dog” 中，字母 d-o-g 构成能指；那个毛茸茸的四条腿的动物就是所指。

Icon: A sign that physically resembles its object, such as a photograph, a map or a diagram. An icon shows exactly what it represents.

图标（象似符）：在物理形状上与其对象相似的符号，如照片、地图或简图。图标直接呈现它所代表的事物。

Index: A sign that has a direct, causal or physical connection to its object. Smoke is an index of fire; a footprint is an index of a person walking by.

指示符：与其对象有直接因果关系或物理联系的符号。烟是火的指示符；脚印是人行走的指示符。

Symbol: A sign where the link between signifier and signified is arbitrary and depends on cultural convention. Red roses symbolise love, and the word “rose” is itself a symbol for the flower.

象征符：能指和所指之间的联系是任意的、依赖于文化惯例的符号。红玫瑰象征爱情，而单词 “rose” 本身也是玫瑰花的象征符。

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2. Media Codes and Conventions | 媒体符码与惯例

Technical codes: The ways equipment is used to create meaning, such as camera shot types, lighting, editing pace and sound recording. A low-angle shot can make a character appear powerful.

技术符码：运用设备创造意义的方法，例如镜头类型、灯光、剪辑节奏和声音录制。低角度镜头能让角色显得强有力。

Symbolic codes: Elements within the mise-en-scène that carry connotative meaning, including costume, colour, body language and setting. A dark shadowy alley suggests danger.

象征符码：场面调度中带有内涵意义的元素，包括服装、颜色、肢体语言和场景。一条阴暗的小巷暗示危险。

Written codes: Any written text used in a media product, such as headlines, captions, typography and font styles. Bold, serif fonts often convey seriousness and tradition.

书写符码：媒体产品中使用的任何书面文字，如标题、图说、排印设计和字体样式。粗体衬线字体常常传达严肃和传统。

Conventions: The expected and widely accepted ways of constructing media texts within a genre. For example, a news broadcast convention is a desk-bound presenter speaking directly to camera.

惯例：在特定类型中建构媒体文本时被期待和广泛接受的方式。例如，新闻广播的惯例是坐在主播台前的主持人直接对着镜头说话。

Genre conventions: Recurring elements that define a genre – for a horror film, conventions include jump scares, isolated settings and a final girl survivor.

类型惯例：定义一种类型的重复出现的元素——对于恐怖片，惯例包括突发惊吓、孤立的环境和最终幸存的女孩。

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3. Narrative Theories | 叙事理论

Todorov’s equilibrium theory: Stories follow a five-stage structure – equilibrium (balance), disruption (something unsettles the balance), recognition of disruption, attempt to repair the disruption, and a new equilibrium. This can be applied to almost any film or fairy tale.

托多罗夫的平衡理论：故事遵循五阶段结构——平衡、打破平衡、承认打破平衡、尝试修复、新的平衡。这几乎适用于任何电影或童话。

Propp’s character types: Vladimir Propp identified seven recurring character roles in narratives: the hero, villain, donor, helper, princess, dispatcher and false hero. A superhero film clearly demonstrates these roles.

普罗普的角色类型：弗拉基米尔·普罗普识别出叙事中七种重复出现的角色：英雄、反派、赠与者、帮手、公主、派遣者和假英雄。超级英雄电影清晰地展示了这些角色。

Binary opposition (Levi-Strauss): Meaning is often constructed through opposites, such as good vs evil, civilisation vs wilderness, or young vs old. This conflict drives the narrative and highlights cultural values.

二元对立（列维-斯特劳斯）：意义常常通过对立面建构，例如善与恶、文明与荒野、年轻与年老。这种冲突推动叙事并凸显文化价值。

Enigma code (Barthes): Elements within a narrative that create mystery and prompt the audience to ask questions. A cliffhanger ending uses the enigma code to maintain viewer interest.

谜码（巴特）：叙事中创造悬念、促使观众提问的元素。悬疑结局利用谜码来保持观众的兴趣。

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4. Representation and Stereotypes | 表征与刻板印象

Representation: How media texts portray people, places, events and social groups. Representations are not reality – they are constructed through selection, focus and mediation.

表征：媒体文本如何描绘人物、地点、事件和社会群体。表征不是现实——它们通过选择、聚焦和中介化建构而成。

Mediation: The process of selecting, editing and shaping content before it reaches an audience. Every media text is a mediated version of reality.

中介化：在内容到达观众之前对其进行选择、编辑和塑造的过程。每个媒体文本都是现实经过中介化的版本。

Stereotype: A simplified, often exaggerated representation of a social group based on broad assumptions. For instance, teenagers are frequently stereotyped as moody and rebellious.

刻板印象：基于宽泛假设对社会群体进行简化、往往夸张的表征。例如，青少年经常被刻板化地表现为情绪化和叛逆。

Countertype: A positive representation that challenges and subverts dominant stereotypes, such as a male character openly showing vulnerability and care.

反类型：一种积极的表征，挑战并颠覆主流刻板印象，例如一个坦然展示脆弱和关怀的男性角色。

Dominant ideology: The set of beliefs and values that are widely accepted in a society and reinforced by media. In many Western films, the dominant ideology values individualism and the nuclear family.

主流意识形态：被社会广泛接受并通过媒体强化的信念和价值观。在许多西方电影中，主流意识形态看重个人主义和核心家庭。

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5. Audience Theories and Categories | 观众理论与分类

Target audience: The specific group of people a media product is aimed at, defined by demographics, psychographics or both. A teen magazine targets 13-18-year-old females.

目标受众：一个媒体产品所针对的特定人群，由人口统计、心理图示或两者共同界定。青少年杂志的目标受众是13-18岁女性。

Demographics: Measurable audience characteristics such as age, gender, income, occupation and education level. Marketers use demographics to segment audiences.

人口统计：可测量的受众特征，如年龄、性别、收入、职业和教育水平。营销人员利用人口统计来细分受众。

Psychographics: Audience classification based on attitudes, values, lifestyle and personality, not just hard facts. A brand might target “aspirers” who seek status and luxury.

心理图示：基于态度、价值观、生活方式和个性而非硬性事实对受众进行分类。品牌可能以追求地位和奢侈品的“渴望者”为目标。

Uses and gratifications model: Suggests audiences actively use media to fulfil specific needs – entertainment, information, personal identity and social interaction. Watching a newscast might gratify the need for surveillance and conversation topics.

使用与满足模型：认为受众主动使用媒体以满足特定需求——娱乐、信息、个人身份认同和社交互动。观看新闻可能满足监测环境和获取谈资的需求。

Reception theory (Stuart Hall): Audiences interpret media texts in three ways – the preferred reading (accepting the intended message), negotiated reading (partly accepting, partly adapting) and oppositional reading (rejecting the message entirely). A perfume advert’s preferred reading is that the fragrance will make you glamorous; an oppositional reading might see it as unrealistic and sexist.

接受理论（斯图尔特·霍尔）：观众以三种方式解读媒体文本——优先式解读（接受预期信息）、协商式解读（部分接受、部分改编）和对抗式解读（完全拒绝信息）。香水广告的优先式解读是这种香水会让你魅力四射；对抗式解读可能认为它不切实际且带有性别歧视。

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6. Mise-en-scène and Visual Elements | 场面调度与视觉元素

Mise-en-scène: A French term meaning “placing on stage” – it includes all the visual elements within a shot: setting, props, costume, makeup, lighting, colour and actor positioning. In a period drama, mise-en-scène recreates historical authenticity through vintage furniture and clothing.

场面调度：法语术语，意为“舞台上的布置”——它包含镜头内的所有视觉元素：场景、道具、服装、化妆、灯光、色彩和演员站位。在历史剧中，场面调度通过复古家具和服饰再现历史真实感。

Lighting: High-key lighting provides bright, even illumination with few shadows, often used in sitcoms. Low-key lighting creates deep shadows and strong contrasts, commonly found in film noir and horror to build tension.

灯光：高调灯光提供明亮、均匀的照明，阴影很少，常用于情景喜剧。低调灯光产生浓重的阴影和强烈对比，常出现在黑色电影和恐怖片中，以营造紧张感。

Colour palette: The range of colours used in a text can symbolise mood and character. Warm colours like red and orange may suggest passion or danger, while cool blues often evoke calm or sadness.

色调板：文本中使用的色彩范围可以象征情绪和角色。红色和橙色等暖色可能暗示激情或危险，而冷色蓝常唤起平静或悲伤。

Props: Objects used to enhance the narrative and reveal character traits. A detective’s magnifying glass serves as both a functional prop and a symbol of their investigative nature.

道具：用来增强叙事和揭示角色特征的物品。侦探的放大镜既是一个功能性道具，又是其探究本性的象征。

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7. Camerawork and Editing | 摄影与剪辑

Close-up (CU): A shot that tightly frames a person’s face or an important object, drawing attention to emotions or significant details. It was often used in Hitchcock films to create intimacy and suspense.

特写镜头：紧密框取人物面部或重要物体的镜头，将注意力引向情感或关键细节。希区柯克的电影中常用来营造亲密感和悬念。

Low-angle shot: The camera looks up at a subject, making them appear dominant, powerful or threatening. Villains are often filmed from a low angle.

低角度镜头：镜头由下往上拍摄主体，使其显得支配性、强大或具有威胁。反派常常用低角度拍摄。

Tracking shot (dolly shot): The camera moves alongside a moving subject on a wheeled platform, providing smooth motion and following action. This can immerse the audience in a character’s journey.

跟拍镜头（移动车镜头）：摄影机在轮式平台上跟随运动主体平滑移动，记录动作。这能让观众沉浸在角色的旅程中。

Continuity editing: A style of editing that seeks to make cuts invisible and maintain a clear, logical flow of time and space. The 180-degree rule and shot-reverse-shot are key techniques to achieve this.

连贯剪辑：一种力求使剪辑不可见并保持清晰、合乎逻辑的时空流动的剪辑风格。180度规则和正反打镜头是实现这一目标的关键技巧。

Cross-cutting: Editing that cuts between two or more separate scenes occurring simultaneously, often used to build tension – for instance, showing a hero racing to save someone while a bomb timer counts down.

交叉剪辑：在同时发生的两个或更多独立场景之间切剪，常用于

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