Techniques for Compositional Filling the Space of a Television Frame

Abstract

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.