The cinematic landscape has long been dominated by the traditional landscape aspect ratio, with its familiar rectangular frame capturing the breadth and expanse of the visual world. However, a growing number of filmmakers are venturing beyond this established norm and exploring the unique storytelling potential of portrait aspect ratio, a vertical orientation that disrupts the conventional balance between height and width. While this shift may initially appear as a departure from established cinematic conventions, a deeper examination reveals a rich tapestry of creative possibilities and challenges that portrait aspect ratio presents.
To fully comprehend the transformative impact of portrait aspect ratio, one must first delve into the seminal work of Sergei Eisenstein( , the renowned Soviet filmmaker who revolutionized cinematic storytelling. In his groundbreaking treatise, „Jenseits der Einstellung,“ Eisenstein challenged the notion of the shot as a static unit, instead advocating for a dynamic interplay between shots and the overall composition of the film. This emphasis on the dynamic nature of cinema resonates deeply with the essence of portrait aspect ratio, which inherently disrupts the traditional horizontal arrangement of elements, creating a sense of dynamism and disrupting the audience’s expectations. (cf. Eisenstein, 2006)
The transformative power of technology, as explored by Carolyn Handler Miller in her book „Digital Storytelling: A Creator’s Guide,“ also parallels the impact of portrait aspect ratio in film. Miller highlights how digital tools have broken down traditional barriers, providing filmmakers with new avenues for creative expression. This aligns with the ability of portrait aspect ratio to expand the visual narrative, offering filmmakers fresh perspectives on familiar stories and allowing them to explore unconventional framing techniques.(cf. Miller, 2014)
To further understand the creative potential of portrait aspect ratio, one must consider the exploration of composition and context by architects Fritz Haberl and Oskar Schlemmer in their book „Die Macht des Rechtecks.“ These authors delve into the power of the rectangle as a fundamental element of design, examining how its proportions and placement can evoke various emotions and convey specific messages. This exploration of rectangular composition aligns with the challenges and opportunities presented by portrait aspect ratio in film, where the vertical orientation can emphasize specific elements or create a sense of intimacy and focus. (cf Haberl & Schlemmer, 1991)
In practice, filmmakers have embraced portrait aspect ratio to create visually striking and engaging films. Steve McQueen’s masterful „12 Years a Slave“ utilizes portrait framing to capture the claustrophobic and oppressive atmosphere of slavery, while Alfred Hitchcock’s suspenseful „Rope“ employs a vertically stacked frame to heighten tension and psychological intrigue. These examples demonstrate the unique storytelling possibilities unlocked by portrait aspect ratio, allowing filmmakers to explore new perspectives and evoke heightened emotions.
As filmmaking continues to evolve, portrait aspect ratio is poised to play an increasingly prominent role in shaping the language of cinema. By challenging traditional conventions and offering fresh perspectives on storytelling, portrait framing will contribute to the dynamic evolution of film as an art form. Embraced by visionary filmmakers, portrait aspect ratio has the power to transform the cinematic landscape, offering a fresh perspective on the art of storytelling and pushing the boundaries of visual expression.
What´s next?
- More research on the usage of portrait format video.
- Find out what possibilities the portrait format offers.
- Find examples in which the portrait format is compared with the landscape format.
- Produce content in portrait and landscape format and check the effect on a test group.
Bibliography:
Eisenstein, S. (2006). Jenseits der Einstellung: Schriften zur Filmtheorie.
Miller, C. H. (2014). Digital storytelling: A creator’s guide to interactive entertainment. CRC Press.
Haberl, G. & Schlemmer, G. (1991). Die Magie des Rechtecks: Filmästhetik zwischen Leinwand und Bildschirm.
