A Narrative Revolution in Vertical Framing: The Aesthetics of "Spatial Compression" and Multimodal Reconstruction in Vertical Screen Short Dramas
Keywords:
vertical-screen drama, user behavior modeling, spatial compression, narrative structure, audience engagement, mobile media aestheticsAbstract
This study investigates the aesthetic, narrative, and engagement mechanisms of vertical-screen short dramas by integrating quantitative user behavior modeling and qualitative audience research. It scrapes user engagement metrics from 100 trending vertical-screen dramas on platforms such as TikTok and Kuaishou, and analyzes the correlations between thumb-triggered interactions (e.g., swipe speed, pause frequency) and narrative structures. A comparative case study of Twenty-Nine, presented in both horizontal and vertical formats, examines how spatial compression influences character dynamics and emotional tone. Additionally, focus groups across different age cohorts evaluate cognitive and emotional responses to various vertical narrative styles, highlighting generational differences in tolerance for compressed visual spaces. Data triangulation across behavioral modeling, case analysis, and audience reception provides a comprehensive framework for understanding how vertical framing reshapes narrative strategies and viewer engagement. The findings offer theoretical and practical insights for creators optimizing content within the evolving ecosystem of mobile-first media consumption.
References
1. D. Bordwell, K. Thompson, and J. Smith, Film Art: An Introduction, vol. 7, pp. 477–479. New York, NY, USA: McGraw-Hill, 2004. ISBN: 9780073535104.
2. J. Smith and M. M. Steagall, “Multiperspectivity and convergence in transmedia storytelling: A practice-oriented exploration of interactive narratives,” in Proc. LINK 2024 Conf., vol. 5, no. 1, pp. 121–124, Oct. 2024, doi: 10.24135/link2023.v5i1.245.
3. Y. Pu, C. Duan, Y. Liu, Y. Wu, Z. Fang, and M. Huang, “Research on marketing effectiveness and fans interaction of short dramas based on the SIPS model,” in Proc. 2024 IEEE Int. Conf. e-Bus. Eng. (ICEBE), Oct. 2024, pp. 112–116, doi: 10.1109/ICEBE62490.2024.00026.
4. Ö. Çalışkan, “Vertical screen in the digital world: New narrative form of vertical short films,” ARTS: Artuklu Sanat ve Beşeri Bilim. Derg., no. Dijitalleşme Özel Sayısı, pp. 9–25, 2022, doi: 10.46372/arts.1197479.
5. J. Liang, X. Shan, and J. Chung, “Exploring the convergence and innovation of AI technology in short dramas production,” Int. J. Adv. Smart Converg., vol. 13, no. 3, pp. 199–204, 2024, doi: 10.7236/IJASC.2024.13.3.199.
6. F. Liu and M. S. Bexci, “Research on the current situation and solutions of online micro-short dramas in the new media envi-ronment,” J. Soc. Sci. Humanit. Lit., vol. 8, no. 3, pp. 32–35, 2025, doi: 10.53469/jsshl.2025.08(03).06.
7. Y. Su, “Accurate marketing algorithm of network video based on user big data analysis,” Math. Probl. Eng., vol. 2022, no. 1, pp. 3317234, 2022, doi: 10.1155/2022/3317234.
