Techniques for compositional filling the space of a television frame

Aiming at exploring the figurative structure of the screen space the author of the publication considers the functional interrelation of the composition’s visual elements in the pattern of a television shot. The formation of the modern communicative space with its inherent specific approaches to visual addition and information saturation of an editing phrase in the expressive model of a television product emphasizes the relevance of the topic under discussion as the artistic techniques unacceptable at the end of the last century have become very significant now.

The basic research principle of the screen space of a television shot is the combination of theoretical and empirical methods, in particular, general and specific: informational, theoretic, problematic, logical and artistic. At the same time, the academic approach is defined by observation and modeling making it possible to reveal the properties of the integration structure of a TV screen by providing audiovisual information in the mode of recording or love broadcast.

The article dwells on the architectonics of a shot’s narrative structure in terms of the necessary design style of the television screen’s figurative space. Its visual model is considered as an unconventional compositional filling of a shot: with a vertically built portrait of the correspondent during stand-up or an image disproportional to the frame of a television receiver or video monitor. The extensive role of additional visual elements in the form of various lines, color strips, copies of parts of the video image, graphics as well as the split screen providing a steady position of the main image in screen space of a television shot is revealed. At the same time, the problem of its visual design as the process of the original formation of screen space by means of modern creative receptions is being solved.

In the conclusion the intermediate results of the research regarding the additional compositional filling of a shot are summed up, theoretical conclusions are drawn, the prospects of further studying of the existential model of television footage are outlined while special attention is paid to the generalization of the gained theoretical knowledge for the subsequent practices of the embodiment of real objects on the displaying surface.