📚 Year 12 CIE Media: 2026 Exam Changes & Trends | 2026年考试变化与趋势
In 2026, Cambridge International AS & A Level Media Studies (9607) will see its most significant update in nearly a decade. With first teaching from September 2024, the revised syllabus reflects the rapidly shifting media landscape, embedding digital convergence, algorithmic culture and global streaming into every component. This article breaks down the key structural, theoretical and assessment changes you need to know as a Year 12 student or teacher preparing for the 2026 examination series.
2026年，剑桥国际AS与A Level媒体研究（9607）将迎来近十年来最重大的一次更新。新大纲自2024年9月起首次教学，反映了快速变化的媒体格局，将数字融合、算法文化和全球流媒体融入每一个组成部分。本文将从结构、理论和评估等方面，详细拆解Year 12学生或教师在备战2026年考试时所需了解的关键变化。
1. Overview of the 2026 Syllabus Update | 2026年教学大纲更新概览
The 2026 syllabus, still under code 9607, replaces the 2019–2025 version. The most visible change is the reduction of set products from nine to six, allowing deeper analytical focus. At the same time, the syllabus introduces two new cross‑media topics: ‘Algorithmic Culture and Platforms’ and ‘Global Media Flows’, which must be studied alongside the existing theoretical framework including representation, audience, industry and language.
2026年教学大纲仍然使用代码9607，取代了2019–2025年的版本。最明显的变化是将指定的媒介产品从九个减少到六个，以便进行更深入的分析。同时，大纲新增了两个跨媒体主题：“算法文化与平台”和“全球媒体流动”，它们必须与现有的理论框架（包括再现、受众、产业和语言）一并学习。
2. Shift Toward Digital and Social Media | 转向数字与社交媒体
Traditional media forms such as print newspapers and radio drama are no longer compulsory set products. Instead, students will study a prescribed social media campaign, a podcast series and an on‑demand streaming interface. This ensures that the exam directly assesses digital‑first storytelling, participatory culture and the monetisation of user data — areas that dominate contemporary media industries.
传统的印刷报纸和广播剧等媒介形式不再是必考产品。取而代之，学生将学习一个指定的社交媒体营销活动、一个播客系列和一个点播流媒体界面。这确保考试能够直接评估数字优先的叙事方式、参与式文化以及用户数据变现——这些主导当代媒体产业的领域。
3. Integration of Global Media Industries | 全球媒体产业的整合
In the 2026 syllabus, questions will routinely ask candidates to compare a British media product with a non‑Western equivalent. For instance, an exam paper might pair a BBC news clip with a segment from Al Jazeera or a Nigerian Nollywood trailer with a South Korean webtoon adaptation. This change encourages students to move beyond Anglo‑American centrism and consider how cultural, economic and political contexts shape media texts differently.
在2026年的大纲中，试题将经常要求考生将英国媒体产品与非西方国家的同类产品进行比较。例如，试卷可能会将BBC新闻片段与半岛电视台的片段配对，或者将尼日利亚诺莱坞的预告片与韩国网络漫画改编作品进行比较。这一变化鼓励学生超越英美中心主义，思考文化、经济和政治背景如何以不同方式塑造媒体文本。
4. Artificial Intelligence in Media Production | 媒体制作中的人工智能
For the first time, the syllabus explicitly names artificial intelligence as a topic within the ‘Media Industry’ section. Candidates need to understand how generative AI tools (such as large language models and image synthesis) are used in journalism, advertising and entertainment, and to evaluate the regulatory and ethical implications — from deepfakes to automated content moderation.
教学大纲首次在“媒体产业”部分明确将人工智能列为一个主题。考生需要理解生成式人工智能工具（如大型语言模型和图像合成）如何在新闻、广告和娱乐中应用，并评估从深度伪造到自动化内容审核的监管与伦理影响。
5. Changes in Assessment Objectives | 评估目标的变化
Assessment Objectives (AOs) have been reweighted. AO2 (analysis and application) now accounts for 45% of the total marks in AS Level, up from 40%, while AO1 (knowledge and understanding) drops to 25%. This shift rewards students who can apply theory to unfamiliar media products rather than simply recalling definitions. At A Level, AO3 (evaluation and judgement) is strengthened with 30% weighting, demanding sustained critical arguments.
评估目标（AOs）的权重已重新分配。在AS阶段，AO2（分析与应用）现占总分的45%，高于原来的40%，而AO1（知识与理解）降至25%。这一转变奖励那些能将理论应用于不熟悉媒体产品的学生，而不是仅仅背诵定义。在A Level阶段，AO3（评价与判断）权重增加至30%，要求考生进行持续的批判性论证。
6. New Case Study Requirements | 新的案例研究要求
Each candidate must now maintain a ‘Media Landscape Portfolio’ throughout the course, selecting three contemporary case studies that span at least two different global regions. These case studies must be updated annually to reflect current developments — for example, the rebranding of a social platform or the regulation of a streaming giant. The portfolio is not submitted but forms the core of essay responses in Paper 1 Section B.
现在，每位考生必须在整个课程期间维护一个“媒体景观档案”，选取至少跨越两个不同全球区域的三个当代案例研究。这些案例研究必须每年更新，以反映当前动态——例如，某个社交平台的重塑品牌或某家流媒体巨头的监管。该档案无需提交，但构成试卷一第二部分议论文回答的核心。
7. Comparative Analysis Tasks | 比较分析任务
A new comparative question type appears in both AS and A Level papers. Candidates will be given two unseen media texts — such as two film posters, two magazine covers or two mobile app screenshots — and asked to write a structured comparison of how media language constructs different meanings or appeals to different audiences. This replaces the previous single‑text analysis question in Component 1.
在AS和A Level试卷中均出现了一种新的比较题型。考生将拿到两篇未见过的媒体文本——例如两张电影海报、两个杂志封面或两个手机应用截图——并被要求结构性地比较媒体语言如何构建不同的含义或吸引不同的受众。这取代了以往试卷一中的单一文本分析题。
8. The Rise of Audience Participation and User‑Generated Content | 受众参与和用户生成内容的兴起
Audience theory has been expanded to include the ‘prosumer’ model and fandom economies. Students must analyse how platforms encourage users to create and circulate content — from TikTok duets to fan fiction forums. Exam questions may ask candidates to discuss the blurring boundary between producer and consumer, using relevant theories such as Jenkins’ participatory culture and Bruns’ produsage.
受众理论已扩展，纳入了“产消者”模式和粉丝经济体。学生必须分析平台如何鼓励用户创作和传播内容——从TikTok的合拍到同人小说论坛。考题可能要求考生运用詹金斯的参与式文化和布伦斯的产消合一等理论，讨论生产者与消费者之间日益模糊的界限。
9. Emphasis on Media Ethics and Regulation | 强调媒体伦理与监管
With misinformation and data privacy now high‑profile public concerns, the 2026 syllabus introduces a dedicated ethics strand within the ‘Media Industry’ topic. Students are expected to compare regulatory frameworks such as the UK’s Ofcom, the EU’s Digital Services Act and self‑regulation models in the tech industry, evaluating their effectiveness in areas like hate speech moderation and algorithmic transparency.
随着错误信息和数据隐私成为社会高度关注的问题，2026年大纲在“媒体产业”主题中引入了专门的伦理分支。学生需要比较英国的Ofcom、欧盟的《数字服务法》以及科技行业的自我监管模式等监管框架，并评估它们在仇恨言论审核和算法透明度等领域的有效性。
10. Updated Creative Project Component | 更新的创意项目部分
The 9607/02 coursework component now requires students to produce a cross‑media campaign, rather than a single media product. For example, a candidate might create a short video, three Instagram carousel posts and a podcast teaser, all promoting the same fictional brand. The accompanying creative rationale must show explicit engagement with the updated theoretical framework, including references to AI tools if used.
9607/02课程作业部分现在要求学生制作一个跨媒体营销活动，而非单一的媒体产品。例如，考生可以制作一段短视频、三条Instagram轮播帖子和一个播客预告，全部为同一个虚构品牌进行推广。随附的创作说明必须明确体现与更新理论框架的结合，如果使用了人工智能工具也需提及。
11. Exam Paper Structure Modifications | 考试试卷结构调整
| Component | 2022–2025 | 2026 onwards |
|---|---|---|
| Paper 1 (AS) | Section A: one text analysis; Section B: one essay | Section A: comparative analysis (two texts); Section B: essay based on case study portfolio |
| Paper 2 (A Level) | Two essays (from choice of four) | One media theory essay; one global comparative essay; one ethics/research question |
These changes reward breadth and synthesis. Paper 2 now explicitly requires candidates to draw on their own case study research in one question, making the Media Landscape Portfolio indispensable for A Level success.
这些变化奖励知识的广度和综合能力。试卷二现在明确要求考生在其中一个问题中运用自己的案例研究成果，这使得媒体景观档案对于A Level的成功至关重要。
12. Recommended Revision Strategies | 推荐的复习策略
To prepare for the 2026 exams, students should build a bank of diverse, up‑to‑date media examples. Rather than memorising facts, practise applying theories like Hall’s encoding/decoding or Curran and Seaton’s power and media industries to unfamiliar texts. Regularly write comparative paragraphs under timed conditions, and stay informed about regulatory changes — such as new online safety laws — which can serve as powerful evidence in evaluation questions.
为准备2026年的考试，学生应建立一个多样化且最新的媒体实例库。不要死记硬背，而是练习将霍尔编码/解码理论或柯兰与西顿的权力与媒体产业理论应用到陌生的文本中。定期在计时条件下练习比较段落，并随时关注监管变化——例如新的在线安全法——这些都可以在评价题中作为有力的论据。
Published by TutorHao | Media Studies Revision Series | aleveler.com
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