IGCSE AQA Media Studies: Key Terminology Quick Reference Guide | IGCSE AQA 媒体研究：核心术语速记指南

📚 IGCSE AQA Media Studies: Key Terminology Quick Reference Guide | IGCSE AQA 媒体研究：核心术语速记指南

Mastering media terminology is essential for analysing texts and acing your IGCSE AQA Media Studies exam. This quick reference guide categorises the core terms you must know, from camera shots and editing techniques to audience theories and representation. Each entry is paired with a Chinese translation to help bilingual learners build their media vocabulary with confidence.

掌握媒体术语是分析文本并在IGCSE AQA媒体研究考试中取得好成绩的关键所在。这份速记指南将你需要掌握的核心术语分门别类，从镜头应用到剪辑技巧，再到受众理论和再现概念，每个条目都配有中文翻译，帮助双语学习者自信地构建媒体词汇体系。

1. Camera Shots and Angles | 镜头与角度

Establishing Shot: A wide-angle shot, often used at the start of a sequence, that sets the scene and provides context for the audience.

定场镜头：一种广角镜头，常用于片段开头，为观众设定场景并提供背景信息。

Close-Up (CU): A shot that tightly frames a person’s face or a specific object, emphasising emotion or detail.

特写镜头 (CU)：紧密框取人物面部或特定物体的镜头，突出情绪或细节。

Extreme Close-Up (ECU): A very tight shot that isolates a small part of the subject, such as an eye or a fingernail, to intensify focus.

大特写 (ECU)：极紧的镜头，分离主体的极小部分，例如一只眼睛或指甲，以强化焦点。

Medium Shot (MS): A shot that frames the subject from the waist up, commonly used for dialogue and balanced character-audience connection.

中景镜头 (MS)：从腰部以上框取主体的镜头，常用于对话，平衡角色与观众的连接。

Long Shot (LS): A shot that shows the full human figure as well as the surrounding environment, locating the character within a setting.

全景镜头 (LS)：展示整个人物形象及周围环境的镜头，将角色置于特定场景中。

High Angle: The camera looks down at the subject, making them appear vulnerable, small or weak.

俯拍角度：摄像机向下俯视主体，使其显得脆弱、渺小或软弱。

Low Angle: The camera looks up at the subject, making them appear powerful, dominant or intimidating.

仰拍角度：摄像机向上仰视主体，使其显得强大、有支配力或令人生畏。

Over-the-Shoulder Shot (OTS): A shot taken from behind one character, focusing on what they are looking at, often used in conversations to create perspective.

过肩镜头 (OTS)：从一名角色身后拍摄，聚焦于其注视的对象，常用于对话中，制造视角感。

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2. Camera Movement | 镜头运动

Pan: The camera rotates horizontally on a fixed axis, scanning a scene from left to right or vice versa.

摇镜头：摄像机在固定轴上水平旋转，从左到右或从右到左扫描场景。

Tilt: The camera rotates vertically on a fixed axis, moving up or down within a scene.

俯仰运动：摄像机在固定轴上垂直旋转，在场景中向上或向下移动。

Track / Dolly: The camera physically moves towards or away from the subject, often on rails, creating a smooth and immersive sense of movement.

推轨 / 移动拍摄：摄像机实体朝向或远离主体移动，常在轨道上，营造流畅而沉浸的运动感。

Crane Shot: The camera is mounted on a crane and moves upwards or downwards, often used for dramatic or sweeping shots.

升降镜头：摄像机安装在升降机上，进行上下运动，常用于戏剧性或全景式镜头。

Zoom: A change in the lens focal length that magnifies or minimises the subject without moving the camera body, drawing attention in or out.

变焦：不移动摄像机本身，通过改变镜头焦距来放大或缩小主体，引导注意力集中或放松。

Handheld: The camera is held by the operator without a tripod or stabilizing rig, producing a shaky, realistic or urgent effect, often used in documentaries.

手持拍摄：由操作员手持摄像机，不使用三脚架或稳定器，产生晃动、真实或紧迫的效果，常用于纪录片。

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3. Editing Techniques | 剪辑技巧

Cut: The most basic transition, where one shot instantaneously replaces another. It maintains narrative flow when done on action.

剪切：最基本的转场，一个镜头瞬间被另一个替代。当在动作进行时剪切，可保持叙事流畅。

Continuity Editing: A system of cutting used to maintain a clear and seamless narrative, obeying rules like the 180-degree rule and match on action.

连贯性剪辑：用于维持清晰无痕叙事的剪辑体系，遵循180度规则和动作匹配等法则。

Jump Cut: An abrupt transition between shots that disrupts continuity, often used to show disorientation or the passage of time in a jarring way.

跳切：镜头间的突然转换，打破连续性，常用于表现迷惘或以一种不和谐的方式展现时间流逝。

Cross-Cutting / Parallel Editing: Alternating shots of two or more lines of action occurring in different locations, often building tension by suggesting they are happening simultaneously.

交叉剪辑 / 平行剪辑：交替展示发生在不同地点的两条或多条动作线，常通过暗示同时发生来制造紧张感。

Match on Action: A cut that connects two different views of the same action at the same moment, preserving fluidity.

动作匹配：在同一动作的不同视角之间进行剪切，保持流畅性。

Shot/Reverse Shot: An editing pattern used in conversations, cutting from one speaker to the listener and back, maintaining spatial continuity.

正反打镜头：对话中使用的剪辑模式，在说话者和听者之间来回切换，保持空间连续性。

Dissolve: A gradual transition where one shot fades out while another fades in, often suggesting a connection or passage of time.

叠化：一个镜头淡出的同时另一个镜头淡入的渐变转场，常暗示联系或时间流逝。

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4. Sound Terminology | 声音术语

Diegetic Sound: Sound whose source is visible on the screen or implied to be present within the story world, e.g. dialogue, footsteps, music from a radio in the scene.

画内音 / 剧情内声音：声源在屏幕上可见或根据剧情存在于故事世界中的声音，例如对话、脚步声、场景中的收音机音乐。

Non-Diegetic Sound: Sound whose source is neither visible on screen nor implied by the story world, e.g. voice-over narration, background music, sound effects added for the audience’s experience.

画外音 / 非剧情声：声源既不可见也不被故事世界暗示的声音，例如旁白、背景音乐、为观众体验添加的音效。

Synchronous Sound: Sound that matches the action on screen precisely, e.g. a door slam heard exactly when the door hits the frame.

同步声音：与屏幕上动作精确匹配的声音，例如门撞上门框时立即听到的关门声。

Asynchronous Sound: Sound that does not match an onscreen event or occurs out of sync, creating tension or highlighting a contrast.

非同步声音：与屏幕事件不匹配或不同步的声音，制造紧张或突出对比。

Sound Bridge: Sound from the next scene begins before the current visual ends, or vice versa, linking two scenes together smoothly.

声音过渡桥：下一场的声音在当前画面结束前开始响起，或反之，将两个场景平滑连接。

Ambient Sound: Background sounds that establish a location’s atmosphere, e.g. traffic, birdsong, crowd murmur.

环境音：建立场景氛围的背景声音，如交通声、鸟鸣、人群低语声。

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5. Mise-en-Scène | 场面调度

Mise-en-Scène: The arrangement of everything that appears in the frame – including setting, props, costume, makeup, lighting, colour, character positioning and body language – to convey meaning.

场面调度：对画面中出现的一切进行安排——包括场景、道具、服装、化妆、灯光、色彩、角色位置和身体语言——以传达意义。

Setting: The physical environment where the narrative takes place, often designed to reflect or reinforce themes, character status or mood.

场景：叙事发生的物理环境，常被设计成反映或加强主题、角色地位或情绪。

Props: Objects used by characters within a scene that contribute to the story and characterisation, e.g. a weapon, a letter, a smartphone.

道具：场景中角色使用的物品，对故事和角色塑造有贡献，例如武器、信件、智能手机。

Costume & Makeup: The clothing and facial/body modifications worn by characters, which signal their identity, era, social class or personality. Changes in costume can show character development.

服装与化妆：角色穿戴的服饰和面部/身体修饰，传达其身份、时代、社会阶层或个性。服装的变化可以展现角色发展。

Lighting – High Key: Bright, even lighting that minimises shadows and creates a cheerful, optimistic atmosphere, common in sitcoms and romantic comedies.

高调光 / 高基调光：明亮、均匀的光照，最大限度地减少阴影，营造欢快、乐观的氛围，常见于情景喜剧和浪漫喜剧。

Lighting – Low Key: Strong contrast between light and dark areas, with deep shadows and pools of light. Associated with film noir, horror and suspense genres.

低调光 / 低基调光：明暗区域之间对比强烈，阴影浓重，存在局部光区。与黑色电影、恐怖和悬疑类型片相关。

Colour Palette: The deliberate choice of dominant colours in a frame, used to create mood, symbolism or visual coherence. For example, desaturated tones for a bleak dystopian world.

色调 / 色彩搭配：画面中主导色彩的有意选择，用来创造情绪、象征意义或视觉统一性。例如，使用低饱和度色调渲染荒凉的敌托邦世界。

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6. Representation Basics | 再现基础

Representation: How media texts portray people, places, events and ideas to an audience. It is a constructed version of reality, not a window onto it, shaped by selection and omission.

再现：媒体文本如何向受众呈现人物、地点、事件和观念。它是被建构的现实版本，而非现实的窗口，由选择和省略所塑造。

Stereotype: A simplified, often exaggerated representation of a group of people, reducing them to a few commonly held traits. Stereotypes can be negative (e.g. the lazy teenager) or seemingly positive but still reductive (e.g. the model minority).

刻板印象：对某个群体的一种简化、常常夸张的再现，将其归为少数几项广为人认可的特征。刻板印象可以是消极的（如懒惰的青少年），也可以是看似正面但仍是一种简化（如模范少数族裔）。

Countertype / Anti-Stereotype: A representation that challenges or reverses a traditional stereotype, offering a more complex and unexpected portrayal of a social group.

反定型 / 反刻板印象：挑战或逆转传统刻板印象的再现，提供对一个社会群体更复杂、出人意料的描绘。

Under-Representation: When certain social groups are shown less frequently or in minimal depth compared to their presence in real society, often leading to marginalisation.

再现不足：某些社会群体在媒体中出现的频率或深度远低于其在真实社会中的存在，往往导致边缘化。

Misrepresentation: When a group is portrayed inaccurately or in a damaging way, reinforcing prejudice or false assumptions.

错误再现：以不准确或有害的方式描绘一个群体，强化偏见或错误假设。

Binary Oppositions: Claude Lévi-Strauss’s concept that meaning is created through contrasting pairs, e.g. good vs. evil, young vs. old, urban vs. rural. These oppositions structure narratives and guide audience interpretations.

二元对立：克劳德·列维-斯特劳斯的概念，认为意义通过对比冲突产生，例如善与恶、年轻与年老、都市与乡村。这些对立结构化了叙事并引导观众解读。

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7. Audience Theories | 受众理论

Target Audience: The specific group of people at whom a media text is aimed, defined by demographics (age, gender, income, education) and psychographics (values, interests, lifestyle).

目标受众：媒体文本所指向的特定人群，由人口统计学数据（年龄、性别、收入、教育程度）和心理特征数据（价值观、兴趣、生活方式）界定。

Uses and Gratifications Model: Blumler and Katz’s theory that audiences actively choose media to fulfil needs: information, personal identity, integration and social interaction, and entertainment.

使用与满足模型：布鲁姆勒和卡茨的理论，认为受众主动选择媒体来满足需求：信息获取、个人身份认同、社会整合与互动，以及娱乐。

Hypodermic Needle Theory: A passive audience theory suggesting media messages are directly injected into a uniform audience, triggering an immediate and predictable response. It is now largely discredited as simplistic.

皮下注射理论 / 魔弹论：一种被动受众理论，认为媒体讯息直接注入毫无差异的受众，引发即时且可预测的反应。现已因其简单化而基本被否定。

Cultivation Theory: George Gerbner’s idea that prolonged exposure to television shapes viewers’ perceptions of reality, making them believe the real world mirrors the media world, e.g., heavy viewers overestimate crime rates.

涵化理论：乔治·格伯纳的观点，认为长期接触电视会塑造观众对现实的感知，使其相信真实世界与媒体世界相似，例如重度观众高估犯罪率。

Reception Theory: Stuart Hall’s model that the audience decodes texts in different ways: preferred/hegemonic reading (accepts intended message), negotiated reading (partially accepts, adapts), or oppositional reading (rejects and challenges the message).

接受理论：斯图亚特·霍尔的模型，认为受众以不同方式解码文本：主导/霸权式解读（接受预设讯息）、协商式解读（部分接受、调整），或对抗式解读（拒绝并挑战讯息）。

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8. Narrative Theories | 叙事理论

Tzvetan Todorov’s Narrative Structure: Narratives progress through five stages: equilibrium (calm and order), disruption (a problem arises), recognition of disruption, attempt to repair the disruption, and new equilibrium (a changed state, often not exactly the same as the original).

茨维坦·托多罗夫的叙事结构：叙事经历五个阶段：平衡（平静有序）、打破平衡（问题出现）、确认失衡、尝试修复失衡，以及新的平衡（改变后的状态，常与原始不完全相同）。

Vladimir Propp’s Character Types: Propp identified recurring narrative character functions in folktales, which still appear in modern media: the Hero, the Villain, the Donor, the Helper, the Princess (or prize), the Dispatcher, and the False Hero.

弗拉基米尔·普罗普的角色类型：普罗普识别了民间故事中反复出现的叙事角色功能，这些类型至今仍见于现代媒体：英雄、反派、赠与者、帮助者、公主（或奖赏）、派遣者和假英雄。

Binary Oppositions in Narrative: Lévi-Strauss argued that stories are driven by conflicts between opposing forces, and these pairs create the central tension. Think of hero/villain, tradition/progress, nature/technology.

叙事中的二元对立：列维-斯特劳斯认为，故事由对立力量之间的冲突驱动，这些成对概念创造核心张力。想想英雄/反派、传统/进步、自然/科技。

Enigma Code: Roland Barthes’s concept of narrative hooks that pose questions or mysteries to the audience, creating suspense and driving the desire to keep watching or reading until the enigma is resolved.

谜题符码：罗兰·巴特的概念，指向观众提出的问题或谜团，制造悬念，驱使观众继续观看或阅读直到谜题解开。

Action Code: Barthes’s term for narrative elements that suggest an impending action, encouraging the audience to anticipate what will happen next, e.g., a character picking up a key implies a door will be unlocked.

行动符码：巴特的术语，指暗示即将发生的动作的叙事元素，促使观众预测接下来会发生什么，例如一个角色拿起钥匙暗示门将被开启。

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9. Media Language and Codes | 媒介语言与符号

Denotation: The literal, surface-level meaning of a sign – what you can actually see or hear. For example, a red rose denotes a flower with red petals.

外延 / 明示义：符号的字面、表面层次的含义——你实际看到或听到的。例如，一朵红玫瑰的外延是一朵有红色花瓣的花。

Connotation: The associated, deeper meanings and cultural implications of a sign. A red rose connotes romance, passion or love.

内涵 / 隐含义：符号关联的、更深层的意义和文化含义。红玫瑰的内涵是浪漫、激情或爱情。

Anchorage: The use of text to pin down or “anchor” the meaning of an image, limiting polysemy (multiple meanings) so the audience interprets the image in a specific way. Captions and headlines do this work.

锚定：用文字来固定或”锚定”图像的意义，限制其多义性（多重含义），使受众以特定方式解读图像。字幕和标题就起这种作用。

Typography: The style, arrangement and appearance of printed letters in a media text. Font choice (serif, sans-serif, size, weight) conveys tone, genre and importance.

字体排印：媒体文本中印刷字母的风格、排列和外观。字体选择（衬线体、无衬线体、大小、粗细）传达语调、类型和重要性。

Colour Symbolism: The culturally understood meanings of colours used in media language. For instance, white can symbolise purity in Western contexts, while red often signals danger or love.

色彩象征：媒体语言中使用的颜色在文化上被理解的含义。例如，白色在西方语境中可象征纯洁，而红色常表示危险或爱意。

Semiotics: The study of signs and symbols and how they create meaning. Pioneered by Ferdinand de Saussure (signifier and signified) and Charles Sanders Peirce (icon, index, symbol), semiotics is central to analysing media texts.

符号学：研究符号与象征及其如何创造意义的学科。由费尔迪南·德·索绪尔（能指与所指）和查尔斯·桑德斯·皮尔斯（像似符、指示符、规约符）创立，符号学是分析媒体文本的核心方法。

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10. Institutions and Regulation | 机构与监管

Media Institution: The organisation or company responsible for producing, distributing or regulating media content. Examples include the BBC, Disney, News Corp, and the BBFC.

媒体机构：负责制作、分发或监管媒体内容的组织或公司。例子包括BBC、迪士尼、新闻集团和BBFC。

Public Service Broadcasting (PSB): Broadcasting intended to inform, educate and entertain the general public, rather than purely for commercial profit. The BBC is the leading PSB in the UK, funded by the licence fee.

公共服务广播 (PSB)：旨在告知、教育和娱乐大众的广播，而非纯粹以商业盈利为目的。BBC是英国最主要的PSB，由许可费资助。

Regulation: The rules and guidelines applied to media industries to protect citizens and ensure standards. In the UK, Ofcom regulates television, radio and video-on-demand, while the BBFC classifies films.

监管：作用于媒体行业以保护公民并确保标准的规则和指引。在英国，Ofcom监管电视、广播和视频点播，而BBFC负责电影分级。

Vertical Integration: A business strategy where a company owns different stages of production and distribution in the same industry, controlling the supply chain from creation to consumption.

垂直整合：公司拥有同一行业内不同生产和分销阶段的商业策略，控制从创作到消费的供应链。

Horizontal Integration: When a company expands by acquiring or merging with competitors at the same stage of production, e.g., one film studio buying another, consolidating market power.

水平整合：公司通过收购或兼并在同一生产阶段的竞争者来扩张，例如一家电影制片厂收购另一家，巩固市场力量。

Convergence: The coming together of previously distinct media technologies and platforms, e.g., a smartphone that combines phone calls, internet browsing, television streaming and photography.

融合：先前独立的媒体技术和平台逐渐汇集，例如智能手机集成了通话、上网、电视流媒体和摄影功能。

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11. New Media and Digital Terminology | 新媒体与数字术语

User-Generated Content (UGC): Media content created and published by non-professionals, often on digital platforms such as YouTube, TikTok or Wikipedia. It blurs the line between producer and consumer.

用户生成内容 (UGC)：由非专业人士创作并在YouTube、TikTok或维基百科等数字平台上发布的媒体内容。它模糊了生产者与消费者之间的界限。

Prosumer: A portmanteau of producer and consumer, describing an individual who both consumes and creates media content, actively participating in digital culture.

产消者：生产者和消费者的合成词，描述既消费又创造媒体内容、积极参与数字文化的个体。

Algorithm: A set of rules or calculations used by digital platforms to curate, recommend and display content based on user data and behaviour, significantly shaping what audiences see.

算法：数字平台使用的一套规则或计算方式，基于用户数据和行为来策展、推荐和显示内容，深刻地塑造着观众所见。

Clickbait: Online content, especially headlines and thumbnails, designed to attract attention and encourage clicks. Often uses sensational language or exaggerated promises, prioritising traffic over quality.

标题党 / 点击诱饵：旨在吸引注意力和鼓励点击的网络内容，特别是标题和缩略图。常使用夸张语言或夸大承诺，将流量置于质量之上。

Digital Divide: The gap between those who have easy access to digital technology and the internet and those who do not, based on factors like geography, income, age and education.

数字鸿沟：能够轻松访问数字技术和互联网的人群与无法访问的人群之间的差距，基于地理、收入、年龄和教育等因素。

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12. Key Analytical Verbs for Media Studies | 媒体研究关键分析动词

Using precise analytical vocabulary demonstrates higher-level thinking. The following active verbs will strengthen your written responses.

使用准确的分析性词汇能展现高层次思维。以下活跃动词将为你的书面回答增色。

Connotes: Suggests or implies a deeper meaning beyond the literal. “The red dress connotes danger and passion.”

意味着 / 带有…的内涵：在字面之外暗示或隐含更深层的意义。”红色连衣裙意味着危险和激情。”

Denotes: Refers to the literal, obvious meaning. “The image denotes a group of teenagers in a park.”

表示 / 指示：指字面上的、明显的意义。”该图像表示的是一群在公园中的青少年。”

Signifies: Indicates or stands as a symbol for something else. “Dark makeup and costume signify the character’s dark inner state.”

象征着 / 表示：指示或作为其他事物的符号。”深色化妆和服装象征着该角色阴暗的内心状态。”

Constructs: Builds or creates a specific representation or meaning. “The advert constructs an idealised version of family life.”

建构：构建或创造特定的再现或意义。”这则广告建构了一个理想化的家庭生活版本。”

Reinforces: Strengthens or supports an existing idea, stereotype or ideology. “The action film reinforces traditional gender roles through its lone-male-hero narrative.”

强化：加强或支持既有的观念、刻板印象或意识形态。”这部动作片通过其孤胆男英雄的叙事强化了传统性别角色。”

Subverts: Undermines, challenges or overturns conventions or expectations. “By making the princess the active rescuer, the film subverts fairy-tale tropes.”

颠覆：削弱、挑战或推翻常规或期待。”通过让公主成为主动的拯救者，这部电影颠覆了童话俗套。”

Foregrounds: Gives prominence to a particular element to draw the audience’s attention. “The shallow depth of field foregrounds the protagonist’s isolated expression.”

前置 / 突出：将特定元素置于显著位置以吸引观众注意。”浅景深突出了主角孤立的表情。”

Marginalises: Pushes a person or group to the edge, both physically in the frame and symbolically in terms of importance. “The composition marginalises the only female character, positioning her behind the male leads.”

边缘化：将个人或群体推向边缘，既在画面空间中也在象征意义上的重要性。”构图将唯一女性角色边缘化，将其置于男性主角后方。”

Published by TutorHao | Media Studies Revision Series | aleveler.com

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