📚 Pre-U Cambridge Media Studies: 2026 Exam Changes and Trends | 剑桥Pre-U媒体研究：2026年考试变化与趋势
The Cambridge Pre-U Media Studies syllabus (9339) is undergoing significant refinements for the 2026 examination series, reflecting the rapidly evolving media landscape. These changes aim to equip learners with critical analytical skills and practical competencies suited for higher education and media-related careers. Understanding the updated structure, assessment objectives, and emerging trends is crucial for both teachers and students preparing for the 2026 exams.
剑桥Pre-U媒体研究（9339）课程在2026年考试系列中经历重大修订，以反映快速变化的媒体环境。这些变化旨在培养学生具备适用于高等教育和媒体相关职业的批判性分析能力和实践技能。了解更新后的结构、评估目标和新兴趋势，对于准备2026年考试的教师和学生都至关重要。
1. Overview of Pre-U Media Studies | 课程概况
Pre-U Media Studies is a two-year linear qualification designed to foster critical engagement with a broad range of media forms. The 2026 syllabus continues to emphasise theoretical knowledge, contextual understanding, and practical production skills. Students explore media language, representation, audience, and industry, grounding their studies in key conceptual frameworks while remaining responsive to contemporary shifts such as platform convergence and algorithmic culture.
Pre-U媒体研究是一门两年制线性资格证书课程，旨在促进学生对广泛媒体形式的批判性参与。2026年课程大纲继续强调理论知识、语境理解和实践制作技能。学生探索媒体语言、表征、受众和产业，将学习建立在关键概念框架之上，同时保持对平台融合和算法文化等当代变化的响应。
2. Changes in Exam Structure | 考试结构变化
One of the most notable updates for 2026 is the adjustment to component weighting. Paper 1 (Media Texts and Contexts) will now account for 40% of the total grade, while Paper 2 (Media Production and Critical Analysis) rises to 35%. The remaining 25% is allocated to the personal investigation coursework. The examination duration for Paper 1 has been slightly extended to allow deeper analysis of unseen media texts, with a new compulsory question on digital convergence.
2026年最显著的变化之一是各组成部分的权重调整。试卷一（媒体文本与语境）现在占总成绩的40%，而试卷二（媒体制作与批判性分析）上升到35%。剩余的25%分配给个人调查课程作业。试卷一的考试时长略有延长，以便对未见过的媒体文本进行更深入分析，并新增了一个关于数字融合的必答题。
Paper 2 will feature a revised structure with a stronger focus on evaluating own production work in relation to professional media practices. The reflective commentary now requires explicit links to theories of media ecology and political economy, moving beyond simple descriptive accounts.
试卷二将采用修订后的结构，更加注重结合专业媒体实践评估自己的制作作品。反思性评论现在需要明确联系媒体生态学和政治经济学理论，而不仅仅是简单的描述性叙述。
3. Updated Assessment Objectives | 评估目标更新
The 2026 assessment objectives (AOs) have been refined to place greater emphasis on synthesis and critical evaluation. AO1 (Demonstrate knowledge and understanding of media concepts, contexts, and critical debates) remains similar but now includes a requirement to evaluate the influence of digital technologies. AO2 (Apply knowledge and understanding to analyse media products) has been expanded to include the analysis of cross-platform narratives and transmedia storytelling.
2026年的评估目标（AOs）经过细化，更加注重综合能力和批判性评价。AO1（展示对媒体概念、语境和批判性争论的知识与理解）保持相似，但现在包括了对数字技术影响的评估要求。AO2（运用知识和理解分析媒体产品）已扩展到包括跨平台叙事和跨媒体叙事的分析。
AO3 (Create media products, demonstrating appropriate research, planning, and reflective evaluation) introduces new criteria for digital literacy and ethical considerations in production work. The personal investigation must now include a risk assessment for ethical issues such as data privacy and representation of vulnerable groups, reflecting industry standards.
AO3（创作媒体产品，展示适当的研究、规划和反思性评价）引入了数字素养和制作工作中的伦理考量新标准。个人调查现在必须包括对伦理问题（如数据隐私和弱势群体表征）的风险评估，以反映行业标准。
4. Digital Media Emphasis | 数字媒体重点
A defining trend for the 2026 syllabus is the heightened focus on digital media ecosystems. Students are required to study platform-specific practices, from YouTube algorithms to TikTok trends, and understand how these shape content creation and circulation. The syllabus now formally includes the study of user-generated content, influencer culture, and algorithmic curation as key areas of media analysis.
2026年课程大纲的一个显著趋势是对数字媒体生态系统的高度关注。学生需要研究特定平台的做法，从YouTube算法到TikTok趋势，并理解这些如何塑造内容创作和传播。课程大纲现在正式将用户生成内容、网红文化和算法策展作为媒体分析的关键领域纳入学习。
Theorists such as Jose van Dijck (platform society) and Safiya Umoja Noble (algorithms of oppression) have been added to the recommended reading list, pushing students to interrogate the power structures embedded in digital platforms. Exam questions may directly reference concepts like ‘filter bubbles’ and ‘echo chambers’, requiring students to apply these to specific case studies.
何塞·范·戴克（平台社会）和萨菲亚·乌莫贾·诺布尔（压迫性算法）等理论家已被添加到推荐阅读清单中，推动学生审视嵌入数字平台的权力结构。考题可能直接引用“过滤气泡”和“回音室”等概念，要求学生将其应用于具体案例研究。
5. Case Studies and Contemporary Texts | 案例研究与当代文本
From 2026, the set products list has been updated to include more contemporary and diverse media texts. The selection now spans global streaming series, viral advertising campaigns, and interactive documentaries. For example, a designated close-study product is the Netflix series ‘Squid Game’, analysed through the lenses of globalisation, cultural hybridity, and audience reception across different territories.
从2026年起，指定作品列表已更新，纳入了更具当代性和多样性的媒体文本。选择范围涵盖全球流媒体剧集、病毒式广告活动和互动纪录片。例如，一个指定的精研作品是Netflix剧集《鱿鱼游戏》，通过全球化、文化杂交和不同地区受众接受度的视角进行分析。
Students must engage with at least two texts produced outside the UK/US media landscape, encouraging a decolonised approach to media studies. This reflects Cambridge’s commitment to global perspectives, and exam questions may ask for comparative analysis between a set Western text and a non-Western alternative provided in the insert materials.
学生必须接触至少两个在英国/美国媒体格局之外制作的文本，鼓励采用去殖民化的媒体研究方法。这反映了剑桥对全球视角的承诺，考题可能要求对指定的西方文本和插页材料中提供的非西方替代文本进行比较分析。
6. New Theoretical Frameworks | 新理论框架
The 2026 syllabus integrates emerging theories of media power and everyday life. Alongside classic models like Hall’s encoding/decoding and Butler’s gender performativity, students now study theories of mediatisation and datafication. The work of Nick Couldry (media as practice) and David Hesmondhalgh (cultural industries) is foregrounded, encouraging a more nuanced understanding of how media saturates daily experience.
2026年课程大纲整合了新兴的媒体权力与日常生活理论。除了霍尔编码/解码和巴特勒性别表演性等经典模型，学生现在学习媒介化和数据化理论。尼克·库尔德（作为实践的媒体）和大卫·赫斯蒙德哈尔（文化产业）的著作被置于显著位置，鼓励学生更细致地理解媒体如何渗透日常经验。
A new compulsory topic is ‘Media and the Environment’, which examines how media represent climate change, promote sustainable practices, and influence public opinion. Students might analyse the visual rhetoric of environmental documentaries or the carbon footprint of digital streaming, linking media ethics with ecological sustainability. This interdisciplinary approach is a hallmark of the revised curriculum.
一个新的必修课题是“媒体与环境”，考察媒体如何表现气候变化、促进可持续实践和影响公众舆论。学生可能分析环境纪录片的视觉修辞或数字流媒体的碳足迹，将媒体伦理与生态可持续性联系起来。这种跨学科方法是修订后课程的一个标志。
7. Practical Production Component | 实践制作部分
The non-exam assessment (coursework) has been restructured to emphasise iterative design and user engagement. For the 2026 portfolio, students must produce a cross-media campaign that includes at least one digital product, such as a website, mobile app interface, or social media series. The accompanying creative log must document design decisions with reference to real-world industry constraints and audience feedback collected through pilot testing.
非考试评估（课程作业）已重新结构化，强调迭代设计和用户参与。对于2026年的作品集，学生必须制作一个跨媒体宣传活动，至少包含一个数字产品，如网站、移动应用界面或社交媒体系列。随附的创作日志必须记录设计决策，并参考现实行业的约束和通过试点测试收集的受众反馈。
The assessment criteria now reward authentic engagement with professional software and workflows. Using Blender, Adobe Creative Suite, or open-source tools, students are expected to justify technical choices and demonstrate awareness of platform affordances. For instance, a video created for Instagram Reels should be evaluated in terms of vertical framing, rapid engagement hooks, and captioned accessibility, showing a synthesis of creative and analytical skills.
评估标准现在奖励对专业软件和工作流的真实参与。使用Blender、Adobe Creative Suite或开源工具，学生需要证明技术选择的合理性，并展示对平台可供性的认识。例如，为Instagram Reels创建的视频应从垂直构图、快速参与钩子和字幕可访问性等方面进行评估，显示创意和分析技能的综合运用。
8. Global and Cultural Contexts | 全球与文化背景
2026 sees an intensified focus on media imperialism and contra-flows. Students are expected to debate the dominance of Hollywood and the rise of alternative centres of production, such as Nollywood, Bollywood, and the Korean wave (Hallyu). The syllabus includes case studies of how local media forms adapt global formats, like ‘The Office’ remakes or localised reality TV franchises, to illuminate processes of hybridisation.
2026年更加关注媒体帝国主义和反向流动。学生应该辩论好莱坞的主导地位和替代制作中心的兴起，如诺莱坞、宝莱坞和韩流。课程大纲包括本地媒体形式如何适应全球模式的案例研究，如《办公室》的改编版本或本地化的真人秀特许经营，以阐明杂交过程。
Regulatory frameworks are also examined comparatively. Questions may address China’s internet governance model, the EU’s Digital Services Act, and the self-regulatory approach in the US, encouraging students to evaluate the political and economic factors shaping media policy. This global outlook prepares learners for media careers in an interconnected world.
监管框架也进行了比较性考察。题目可能涉及中国的互联网治理模式、欧盟的《数字服务法》和美国的自我监管方式，鼓励学生评估塑造媒体政策的政治和经济因素。这种全球视野为学习者在互联世界中的媒体职业做好准备。
9. Research and Independent Study | 研究与独立学习
The personal investigation component has been updated to foster greater academic rigour. Beginning in 2026, students must include a literature review of at least three academic sources in their research report. This review should critically engage with scholarly arguments rather than merely summarise them, modelling the conventions of undergraduate media studies essays.
个人调查部分已更新，以培养更高的学术严谨性。从2026年开始，学生必须在研究报告中包含至少三个学术来源的文献综述。该综述应批判性地参与学术争论，而不仅仅是总结，模仿本科媒体研究论文的惯例。
Students are also required to articulate a clear research question or hypothesis, drawing on methodologies such as textual analysis, ethnographic observation, or content analysis. The final submission must include a self-evaluation that maps the progression from initial idea to finished investigation, highlighting challenges encountered and how they were overcome. This metacognitive element aligns with Cambridge’s goal of developing reflective learners.
学生还需要阐述一个明确的研究问题或假设，借鉴文本分析、民族志观察或内容分析等方法。最终提交必须包括一个自我评估，描述从最初想法到完成调查的进展，强调遇到的挑战和如何克服。这一元认知元素与剑桥培养反思性学习者的目标一致。
10. Exam Technique Tips | 考试技巧建议
Success in the 2026 exam requires fluency in both micro-analysis and macro-evaluation. For Paper 1, students should practise deconstructing unseen extracts quickly using semiotic terminology (e.g., denotation, connotation, anchorage) and then linking findings to industry contexts and audience positioning. Timing is critical; allocate no more than 15 minutes per unseen analysis task.
在2026年考试中取得成功需要同时精通微观分析和宏观评价。对于试卷一，学生应练习使用符号学术语（例如，外延、内涵、锚定）快速解构未见过的摘录，然后将发现与产业语境和受众定位联系起来。时间安排至关重要；每个未见文本分析任务不要超过15分钟。
For Paper 2, the evaluation of own production should be structured around the cycle of research, planning, production, and reflection. Use media theories as a lens: did your trailer subvert or reinforce genre conventions? How did you apply uses and gratifications theory in content design? Include concrete examples from your work with timestamps or screenshots to substantiate claims.
对于试卷二，对个人制作的评估应围绕研究、规划、制作和反思的周期展开。使用媒体理论作为视角：你的预告片是颠覆还是加强了类型惯例？你是如何将使用与满足理论应用于内容设计的？用带有时间戳或截图的作品具体例子来证实主张。
Integrating contemporary news and statistics on media industries can elevate answers. Mention the latest Netflix subscriber figures or a recent TikTok ban debate to demonstrate wider engagement beyond the classroom. However, ensure such references are directly relevant to the question and analytically applied.
结合当代新闻和媒体产业统计数据可以提升答案质量。提及最新的Netflix订阅用户数据或最近的TikTok禁令辩论，以展示课堂之外的广泛参与。然而，要确保这些引用直接与问题相关并进行分析性应用。
11. Predicted Trends for 2026 and Beyond | 2026年及以后的趋势预测
Looking ahead, the syllabus will likely continue evolving towards immersive and interactive media. Virtual reality (VR) and augmented reality (AR) storytelling, as well as AI-generated content, are on the horizon for future assessment cycles. Cambridge has signalled an interest in competencies such as data visualization and interactive design, which may be integrated into production tasks by 2028.
展望未来，课程大纲可能会继续向沉浸式和交互式媒体发展。虚拟现实（VR）和增强现实（AR）叙事，以及人工智能生成的内容，将在未来评估周期中出现。剑桥已经表示对数据可视化和交互设计等能力的兴趣，这些可能会在2028年前被整合到制作任务中。
Another anticipated trend is the inclusion of media psychology and neuroscientific approaches to audience engagement. Concepts like ‘attention economy’ and ‘dopamine loops’ are already making their way into popular discourse, and their academic study could become a standard component. Teachers should monitor these developments and begin introducing students to ethical debates around persuasive design and tech addiction.
另一个预期趋势是纳入媒体心理学和神经科学方法来研究受众参与。‘注意力经济’和‘多巴胺循环’等概念已经进入流行话语，其学术研究可能成为标准组成部分。教师应关注这些发展，并开始向学生介绍围绕说服性设计和技术成瘾的伦理辩论。
Finally, assessment may increasingly reward collaborative and project-based learning. Group production portfolios, already piloted in some centers, might become optional or mandatory, reflecting the collaborative nature of real-world media production. This would require clear documentation of individual contributions and could coexist with the personal investigation, offering diverse assessment avenues.
最后，评估可能会越来越多地奖励协作和基于项目的学习。团体制作作品集已经在一些中心试行，可能成为可选或强制性要求，反映现实世界媒体制作的协作性质。这需要清晰记录个人贡献，并可以与个人调查共存，提供多样化的评估途径。
12. Preparing Strategically for the 2026 Syllabus | 为2026年课程大纲做好战略准备
To excel under the updated specifications, students should curate a live media journal documenting contemporary examples linked to the theoretical frameworks studied. This habit of active documentation not only aids retention but also provides a rich bank of illustrative examples for essays. Regularly reading media industry publications like ‘The Guardian’ media section, ‘Variety’, or ‘Press Gazette’ will ground theoretical knowledge in current realities.
要在更新后的规格下取得优异成绩，学生应整理一个活的媒体日记，记录与所研究理论框架相关的当代例子。这种主动记录的习惯不仅有助于记忆，还为文章提供了一个丰富的示例库。定期阅读媒体行业出版物，如《卫报》媒体版块、《综艺》或《新闻公报》，将理论知识扎根于当前现实中。
Collaboration with peers in production workshops can simulate professional environments. Setting up critique sessions where students present rough cuts and receive feedback fosters the evaluative skills tested in Paper 2. Additionally, seek out webinars or revision materials from TutorHao and other trusted platforms to stay updated on any last-minute syllabus clarifications released by Cambridge.
与同龄人在制作工作坊中的协作可以模拟专业环境。举办批评会议，让学生展示粗略剪辑并接收反馈，可以培养试卷二中所测试的评价技能。此外，寻找TutorHao等可信平台的网络研讨会或复习材料，以了解剑桥发布的任何最后一刻的课程大纲澄清。
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