Aiming at exploring the figurative structure of the screen spacethe author of the publication considers the functional interrelation of thecomposition’s visual elements in the pattern of a television shot. The formationof the modern communicative space with its inherent specific approaches tovisual addition and information saturation of an editing phrase in the expressivemodel of a television product emphasizes the relevance of the topic underdiscussion as the artistic techniques unacceptable at the end of the last centuryhave become very significant now.The basic research principle of the screen space of a television shot is thecombination of theoretical and empirical methods, in particular, general andspecific: informational, theoretic, problematic, logical and artistic. At the sametime, the academic approach is defined by observation and modeling making itpossible to reveal the properties of the integration structure of a TV screen byproviding audiovisual information in the mode of recording or love broadcast.The article dwells on the architectonics of a shot’s narrative structure interms of the necessary design style of the television screen’s figurative space.Its visual model is considered as an unconventional compositional fillingof 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 videomonitor. The extensive role of additional visual elements in the form of variouslines, color strips, copies of parts of the video image, graphics as well as thesplit screen providing a steady position of the main image in screen space ofa television shot is revealed. At the same time, the problem of its visual designas the process of the original formation of screen space by means of moderncreative receptions is being solved.In the conclusion the intermediate results of the research regarding theadditional compositional filling of a shot are summed up, theoretical conclusionsare drawn, the prospects of further studying of the existential model of televisionfootage are outlined while special attention is paid to the generalization of thegained theoretical knowledge for the subsequent practices of the embodimentof real objects on the displaying surface.