Memorising Media Terminology: A Quick Guide | 媒体词汇术语速记指南

📚 Memorising Media Terminology: A Quick Guide | 媒体词汇术语速记指南

Mastering media terminology is essential for success in Cambridge IGCSE Media Studies. This guide offers clear definitions and effective memory aids to help Year 10 students quickly recall key terms across all areas of the syllabus.

掌握媒体术语对剑桥IGCSE媒体研究课程的成功至关重要。本指南提供清晰的定义和有效的记忆辅助，帮助十年级学生迅速回忆起课程所有领域的关键术语。

1. Shot Sizes and Camera Angles | 镜头大小与拍摄角度

Shot sizes control how much of a subject and its surroundings the audience sees. The extreme long shot (ELS) reveals vast landscapes, often establishing location. A long shot (LS) shows the full figure and some environment, while a medium shot (MS) frames from the waist up for dialogue or action. Close-ups (CU) focus on a face or object to convey emotion or detail, and an extreme close-up (ECU) isolates a specific feature, such as an eye.

镜头大小控制观众看到的主体及背景的多少。大远景展现广阔风景，常用来确立地点。远景显示整个人物和部分环境，中景则从腰部以上取景，适用于对话或动作。特写聚焦于面部或物体以传递情感或细节，极度特写则分离出某个具体特征，如眼睛。

Camera angles influence how we perceive characters. A high-angle shot looks down on a subject, making it seem vulnerable or insignificant. A low-angle shot looks up, giving a sense of power or dominance. An eye-level angle creates a neutral, conversational feel between viewer and subject. Extreme aerial views, such as a bird’s-eye shot, can suggest an omniscient perspective.

拍摄角度影响我们对角色的感知。俯拍向下看主体，使其显得脆弱或渺小。仰拍向上看，赋予权力或支配感。水平角度在观众与主体之间营造中立、对话的感觉。极端的空中视角，如鸟瞰镜头，可暗示全知视角。

2. Camera Movement | 摄影机运动

A pan rotates the camera horizontally from a fixed pivot, often used to follow action or scan a scene without cutting. A tilt performs the same function vertically, moving up or down to reveal height or depth. Tracking (or dolly) moves the entire camera along rails, creating a smooth, gliding motion that can follow a character into a space.

摇镜将相机从固定轴水平旋转，常用于不剪辑地追随动作或扫视场景。俯仰运动则垂直进行，向上或向下移动以展现高度或深度。推轨（或滑轨）沿轨道移动整个相机，创造出滑行般的平滑运动，可跟随角色进入空间。

A crane shot mounts the camera on a mechanical arm, enabling sweeping vertical rises and dramatic reveals. Handheld filming produces a shaky, immediate quality that can convey documentary realism or psychological tension. In contrast, a steadicam stabilises the camera while allowing fluid movement, blending flexibility with professional smoothness.

升降镜头将相机安装在机械臂上，能够进行大范围的垂直上升和戏剧性展示。手持摄影制造出抖动的即时感，可传达纪录片式真实或心理紧张。相反，斯坦尼康在保证相机稳定的同时允许流畅移动，将灵活性与专业平稳融为一体。

Although technically a lens change, zoom is often grouped with movement. A zoom-in magnifies the subject without moving the camera, compressing space and drawing intense attention. A zoom-out reveals more of the context.

尽管变焦在技术上属于镜头变化，但常与运动归为一类。变焦推近在不移动相机的情况下放大主体，压缩空间并吸引强烈注意。变焦拉远则展露更多背景。

3. Editing Techniques | 剪辑技巧

The most fundamental edit is the cut—an instantaneous change from one shot to another. A jump cut breaks continuity by abruptly skipping forward in time within the same shot, often used to unsettle the viewer. Match cuts link two shots through a visual or thematic connection, creating symbolic meaning or seamless flow.

最基本的剪辑是剪切——从一个镜头瞬间切换到另一个。跳切通过在同一镜头内突然跳过时间破坏连贯性，常用来使观众不安。匹配剪辑通过视觉或主题联系连接两个镜头，创造出象征意义或无痕衔接。

Fades and dissolves are gradual transitions. A fade to black commonly signals the end of a scene or a passage of time. A dissolve overlaps two shots briefly, blending them to suggest a relationship, memory, or dream sequence. A wipe pushes one image off screen with another moving across, often used in action or adventure films for a dynamic feel.

淡入淡出和叠化是渐变过渡。淡出至黑通常表示场景结束或时间流逝。叠化将两个镜头短暂重叠混合，暗示关联、回忆或梦境片段。划像则是用另一个画面将当前画面推出屏幕，动态感强，常见于动作或冒险片。

Cross-cutting alternates between two or more simultaneous action lines, building tension by showing different events unfolding at once. Montage condenses time and information through a sequence of shots, often set to music, to convey a lot of narrative quickly. Continuity editing relies on techniques like shot/reverse shot and the 180-degree rule to maintain spatial and temporal clarity.

交叉剪辑在两条或更多同时发生的动作线之间切换，通过展现不同事件同时进行来建立张力。蒙太奇通过一系列镜头压缩时间和信息，常配以音乐，迅速传递大量叙事。连贯性剪辑依靠正反打和180度规则等技法，保持空间与时间的清晰。

4. Sound in Media | 媒体中的声音

Diegetic sound belongs to the story world: dialogue, footsteps, a radio playing. Non-diegetic sound is added for the audience alone, such as background music or a narrator’s commentary. Distinguishing between the two helps you analyse how sound guides viewer

Published by TutorHao | Year 10 媒体 Revision Series | aleveler.com

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