KS3 CAIE Media: Glossary Quick Memorisation Guide | KS3 CAIE 媒体：词汇术语速记指南

📚 KS3 CAIE Media: Glossary Quick Memorisation Guide | KS3 CAIE 媒体：词汇术语速记指南

Mastering media terminology is the first step to analysing any film, TV show, advertisement or news piece. This quick memorisation guide breaks down the essential KS3 CAIE Media Studies vocabulary into ten engaging categories, complete with mnemonic hints to help you retain and apply these terms confidently.

掌握媒体术语是分析任何电影、电视节目、广告或新闻的第一步。这份快速记忆指南将 KS3 CAIE 媒体研究的核心词汇分为十个引人入胜的类别，并配有助记提示，帮助你自信地记住和运用这些术语。

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1. Camera Shots and Angles | 镜头与角度

An Extreme Long Shot (ELS) captures a wide landscape or cityscape, making the human figure appear tiny. It establishes the setting and can convey isolation. Remember: ‘Extreme’ distance means ‘Extreme’ context.

极远景镜头 (ELS) 捕捉广阔的风景或城市景观，人物显得非常渺小。它建立场景，并能传达孤独感。记忆：”极远”的距离意味着”极广”的背景。

A Long Shot (LS) frames the full body of a character, showing their costume and body language within the environment. Think ‘Long’ = ‘full-length portrait’, linking the character to their surroundings.

全景镜头 (LS) 框住人物的全身，展示其服装和体态语言在环境中的表现。联想：”全景”就像”全身肖像”，将人物与环境联系起来。

The Medium Shot (MS) typically shows a character from the waist up, allowing clear facial expressions and some background. It mimics natural conversation distance. Mnemonic: ‘Medium’ is ‘middle ground’ – not too far, not too close.

中景镜头 (MS) 通常从腰部以上拍摄人物，清晰展现面部表情并保留部分背景，模拟自然对话距离。记忆：”中景”就是”中间地带”——不远不近。

A Close-up (CU) frames a subject’s face or a significant object, filling the screen. It creates intimacy and focuses attention on emotions or details. Remember ‘CU’ as ‘See You’ up close.

特写镜头 (CU) 框住主体的面部或重要物品，充满屏幕，制造亲密感并将注意力集中在情绪或细节上。记忆法：”CU” 如同 “See You”——近距离凝视。

In a Low Angle shot, the camera looks up at a subject, making it appear powerful, dominant or threatening. Imagine looking up at a giant; the angle adds stature.

低角度镜头中，摄影机从下往上拍摄主体，使其显得强大、有支配力或具威胁性。想象仰望巨人，角度增添了高大感。

A High Angle shot looks down on a subject, reducing its importance and making it seem vulnerable or weak. Think of a bird’s-eye view that shrinks the person.

高角度镜头从上往下拍摄，削弱主体重要性，使其显得脆弱渺小。就像鸟瞰视角将人物缩小。

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2. Camera Movement | 镜头运动

A Pan is a horizontal camera movement from a fixed pivot, often used to follow action or reveal a landscape. Picture your head turning left to right; that is a pan.

水平摇摄 (Pan) 是摄影机围绕固定轴水平转动，常用于跟随动作或展示全景。想象你的头从左转向右，那就是摇摄。

A Tilt moves the camera vertically up or down, revealing height or depth. Think of nodding ‘yes’ – that movement is a tilt.

垂直摇摄 (Tilt) 使摄影机上下垂直移动，展现高度或深度。就像点头说”是”的动作，那就是上下摇摄。

Zoom alters the focal length to magnify or shrink the subject without the camera physically moving. ‘Zoom in’ for intensity, ‘Zoom out’ for context.

变焦 (Zoom) 无需移动摄影机，通过改变焦距放大或缩小主体。”Zoom in” 强调细节，”Zoom out” 展现背景。

A Dolly (or Tracking shot) physically moves the camera towards, away from or alongside the action. It creates a smooth, immersive feel. Think of a camera on wheels gliding through a scene.

移动推轨 (Dolly/Tracking) 是将摄影机真实地向前、向后或跟随主体移动，营造流畅的沉浸感。想象一台架在轨道上的摄影机滑过场景。

A Crane Shot lifts the camera high into the air, providing a sweeping view. It signifies grandeur and often concludes epic scenes.

摇臂镜头 (Crane) 将摄影机高高举起，提供广阔扫视。它传达宏大感，常用在史诗场面的结尾。

Handheld camera movement gives a shaky, documentary-style realism. It places the audience inside the action, often used in chase scenes or to convey urgency.

手持摄影 (Handheld) 产生抖动、纪录片式的真实感，将观众带入动作之中，常用于追逐场景或传达紧迫感。

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3. Editing Techniques | 剪辑技巧

A Cut is the simplest transition – one shot instantly becomes the next. It drives the pace and keeps the narrative flowing.

直切 (Cut) 是最简单的转场——一个镜头立即切换到下一个，推动节奏并保持叙事流畅。

A Jump Cut breaks continuity by removing a section of time, making the subject ‘jump’ from one position to another. It can show the passage of time or disorientation.

跳切 (Jump Cut) 通过抽去一段连续时间，使主体从一个位置”跳”到另一个位置，可显示时间流逝或迷茫感。

Cross-cutting alternates between two or more scenes happening simultaneously in different locations. It builds suspense, such as cutting between a victim and a rescuer.

交叉剪辑 (Cross-cutting) 在两个或多个同时发生于不同地点的场景间交替切换。它能营造悬疑，例如在受害者与救援者之间切换。

A Fade is a gradual transition: ‘Fade in’ emerges from black, ‘Fade out’ dissolves to black. Fades signal the beginning or ending of a sequence.

淡入淡出 (Fade) 是一种渐变转场：”淡入”从黑画面渐渐显现，”淡出”逐渐隐没到黑色，用于标示段落开始或结束。

A Dissolve overlays the end of one shot with the beginning of the next, suggesting a connection or a smooth passage of time. It is softer than a cut.

叠化 (Dissolve) 将一个镜头的结尾与下一个镜头的开始短暂重叠，暗示联系或时间的平缓流逝，比直切更柔和。

The 180-degree Rule maintains consistent screen direction by imagining a line between two characters; the camera stays on one side of that line. Following it prevents confusion.

180°规则 (180-degree Rule) 在两人物之间假想一条轴线，摄影机始终保持在轴线同一侧拍摄，以保证屏幕方向一致，避免观众混淆。

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4. Sound Terminology | 声音术语

Diegetic sound originates from within the film’s world, heard by the characters. Dialogue, footsteps and radio music are diegetic. Think: ‘Diegetic = Directly in the story’.

画内音 (Diegetic sound) 源自电影世界内部，角色能够听见。对白、脚步声、收音机音乐都是画内音。记忆：”Diegetic” 就是”故事里的直接声音”。

Non-diegetic sound comes from outside the story world, only heard by the audience. Film scores and voiceovers are non-diegetic. Mnemonic: ‘Non-diegetic = Not in the scene’.

画外音 (Non-diegetic sound) 来自故事世界之外，只有观众能听到。电影配乐和画外旁白属于画外音。记忆：”Non-diegetic” 即”不在场景中”。

A Sound Bridge carries sound from one scene into the next, linking them. It smooths transitions and can hint at a relationship between scenes.

声音桥梁 (Sound Bridge) 将声音从一个场景延续到下一个场景，起到衔接作用，使转场更流畅并暗示场景间的关联。

Voiceover is a commentary spoken by an off-screen narrator, often used to reveal a character’s inner thoughts or provide backstory.

旁白 (Voiceover) 是画外叙述者的解说，常用于揭示人物的内心想法或提供背景故事。

Ambient sound is the background buzz of a location, such as wind, traffic or crowd murmur. It establishes a realistic atmosphere.

环境音 (Ambient sound) 是场景的背景杂声，如风声、车流或人群低语，营造真实的气氛。

A Score is original music composed specifically for a film. It underscores emotions and signals to the audience how to feel.

配乐 (Score) 是专门为电影创作的原创音乐，用以烘托情绪，提示观众的感受。

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5. Mise-en-scène | 场面调度

Setting refers to the location where a scene takes place. It can establish time period, mood and even a character’s social status. A derelict house suggests decay and danger.

场景 (Setting) 指事件发生的地点。它能暗示时代、情绪乃至人物的社会地位。一栋废弃房屋传达出破败与危险。

Props are any movable objects used by the characters. A detective’s magnifying glass or a wizard’s wand instantly communicates their role.

道具 (Props) 是角色使用的可移动物件。侦探的放大镜或巫师的魔杖能立刻传达角色的身份。

Costume includes clothing, hairstyle and makeup. It reveals character traits, historical context and group identity. Think of a superhero’s cape – instantly recognisable.

服装 (Costume) 包括衣物、发型与化妆，能揭示性格、时代背景和群体身份。想象超级英雄的斗篷——一眼便知。

High-key lighting is bright and even, with minimal shadows. It conveys a cheerful, safe or glamorous mood, typical of sitcoms and advertisements.

高调布光 (High-key lighting) 明亮而均匀，阴影很少，传达快乐、安全或迷人的氛围，常见于情景喜剧和广告。

Low-key lighting creates strong contrasts between light and dark, casting deep shadows. It builds suspense and is common in horror and film noir.

低调布光 (Low-key lighting) 产生明暗强烈对比和深邃阴影，营造悬疑感，常用于恐怖片和黑色电影。

Colour in mise-en-scène can be symbolic. Red may represent danger or passion, while blue can suggest calm or sadness. Directors use colour palettes to reinforce themes.

场面调度中的色彩可以具有象征性。红色可能代表危险或激情，蓝色则暗示冷静或悲伤。导演用色调强化主题。

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6. Narrative Structures | 叙事结构

A Linear narrative presents events in chronological order, from beginning to middle to end. It is straightforward and easy to follow.

线性叙事 (Linear narrative) 按时间先后顺序呈现事件，从开始到中间再到结尾，清晰易懂。

A Non-linear narrative jumps around in time, using flashbacks or flash-forwards. It can create mystery and challenge the audience to piece the story together.

非线性叙事 (Non-linear narrative) 打乱时间顺序，运用闪回或闪前，制造神秘感，促使观众拼凑故事。

A Flashback interrupts the present action to show an earlier event. It reveals backstory and explains a character’s motivation.

闪回 (Flashback) 打断当前情节，展现更早的事件，揭示背景故事并解释人物动机。

Todorov’s Equilibrium theory suggests stories follow a pattern: Equilibrium, Disruption, Recognition, Attempt to Repair, New Equilibrium. Most fairy tales fit this model.

托多罗夫的平衡理论 (Todorov’s Equilibrium) 认为故事遵循一种模式：平衡 – 打破平衡 – 意识到失衡 – 尝试修复 – 新平衡。多数童话都符合这一模型。

Propp’s Character Types include the Hero, Villain, Helper, Donor, Dispatcher and Princess. Recognising these roles helps decode fairy tales and mainstream cinema.

普洛普的角色类型 (Propp’s Character Types) 包含英雄、恶棍、帮助者、赠与者、派遣者和公主。识别这些角色有助于解读童话和主流电影。

The Enigma Code refers to mysteries within the narrative that intrigue the audience. Clues are dropped to keep us guessing. Think of a detective show – ‘Who did it?’ is the enigma.

谜题符码 (Enigma Code) 指叙事中引发观众好奇的谜团，通过线索不断抛出，让观众保持猜想。侦探剧中”凶手是谁？”就是一个谜题。

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7. Audience Theories | 受众理论

Target Audience is the specific group of people a media product is aimed at, defined by age, gender, interests or lifestyle. Advertisers tailor messages to reach them.

目标受众 (Target Audience) 是媒体产品针对的特定人群，由年龄、性别、兴趣或生活方式界定。广告商会为触达他们而量身定制信息。

Demographics classify audiences by measurable statistics such as age, income and occupation. A teen magazine targets the 13–19 demographic.

人口统计学 (Demographics) 用年龄、收入、职业等可测量的统计数据对受众分类。青少年杂志针对13-19岁年龄段。

The Uses and Gratifications Theory (Blumler & Katz) states that audiences actively use media to satisfy needs: Information, Personal Identity, Integration & Social Interaction, and Entertainment.

使用与满足理论 (Uses and Gratifications) 认为受众主动使用媒体来满足需求：信息

Published by TutorHao | KS3 媒体 Revision Series | aleveler.com

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