In film, the concept of flat space is used to describe a style of visual storytelling that emphasizes the two-dimensional nature of the screen surface, rather than attempting to create the illusion of three-dimensional space. This style is often associated with avant-garde and experimental cinema, as well as with certain genres such as animation and graphic design.

At its core, flat space is about foregrounding the materiality of the film medium itself. It draws attention to the fact that film is, fundamentally, a flat surface on which images are projected. This can be achieved in a variety of ways, such as by using bold colors, graphic shapes, and a lack of depth cues like perspective and shadow.

One of the earliest examples of flat space in film is the work of the French filmmaker Georges Méliès, who pioneered the use of special effects in cinema in the early 20th century. Méliès was known for creating fantastical, otherworldly environments using painted backdrops and theatrical sets, which often had a distinctly two-dimensional quality. His films, such as “A Trip to the Moon” (1902), embraced the possibilities of flat space as a way to create a sense of wonder and magic on the screen.

According to Block, flat space is the plane that is closest to the camera, and it is the most two-dimensional of the four planes. Flat space can be used to create a sense of graphic design or abstraction in a shot, and it is often associated with the use of bold colors and graphic shapes.

One example of the use of flat space in film is in the work of the director Wes Anderson. Anderson is known for his use of symmetrical compositions and bold, saturated colors, which often create a sense of flatness in his shots. In films like “The Grand Budapest Hotel” and “Moonrise Kingdom,” Anderson uses flat space to create a whimsical, storybook-like atmosphere that emphasizes the artificiality of the film medium.

Flat space is a visual technique in film that emphasizes the two-dimensional nature of the screen surface, rather than creating an illusion of three-dimensional space. In this essay, I will explore some of the intricacies of flat space, including object movement, camera movement, frontal planes, size constancy, textural diffusion, aerial diffusion, shape change, color separation, overlap, focus, and up-down position, using examples from film.

Object Movement

In flat space, objects move parallel to the picture plane, which means that they move within the two-dimensional space of the screen surface. This movement can take many forms, such as side to side, up and down, diagonally, or even in a circular motion.

One example of parallel movement in flat space can be seen in the opening sequence of the film “The Shining” (1980), directed by Stanley Kubrick. The camera follows a car as it travels along a winding mountain road, and the movement of the car creates a sense of motion within the two-dimensional space of the screen. The parallel movement of the car and the surrounding landscape emphasizes the flatness of the screen surface, while also creating a sense of visual depth and perspective.

Another example of parallel movement in flat space can be seen in the film “The Grand Budapest Hotel” (2014), directed by Wes Anderson. Throughout the film, Anderson uses parallel movement to create a sense of motion and activity within the two-dimensional space of the screen. For example, in one scene, a group of characters move across the frame in a side-to-side motion, while in another scene, a character moves diagonally across the frame. The parallel movement of these objects creates a sense of visual interest and dynamic motion within the flat space.

In the film “Akira” (1988), for example, director Katsuhiro Otomo uses object movement to create a sense of frenetic energy and chaos in the city streets. The movement of the characters’ motorcycles, as well as the movement of debris and other objects in the frame, emphasizes the two-dimensional quality of the screen surface.

Camera Movement

Camera movement is another important aspect of flat space. Unlike in deep space, where camera movement can create the illusion of movement through three-dimensional space, in flat space, camera movement is often used to emphasize the two-dimensional nature of the screen surface.

The camera can move in many different ways within this space, such as panning, tilting, zooming, tracking, and crane shots.

One example of camera movement in flat space is the use of a panning shot, where the camera moves horizontally from side to side while keeping the same distance from the objects in the frame. This type of shot can create a sense of visual continuity and can be used to follow the movement of objects or characters within the frame. A good example of a panning shot in flat space can be seen in the opening sequence of the film “Touch of Evil” (1958), directed by Orson Welles.

Another type of camera movement in flat space is the use of a crane shot, where the camera moves up or down while maintaining its distance from the objects in the frame. This type of shot can create a sense of grandeur and can be used to establish the scale and scope of the environment within the frame. A good example of a crane shot in flat space can be seen in the opening sequence of the film “The Dark Knight” (2008), directed by Christopher Nolan.

Zooming is another type of camera movement in flat space, where the camera’s lens changes focal length to either move in closer or farther away from the objects in the frame.

In the film “The Grand Budapest Hotel” (2014), director Wes Anderson uses a combination of static shots and slow lateral pans to create a sense of symmetry and balance in his compositions, which emphasizes the graphic design quality of the flat space.

Frontal Planes

Frontal planes are another crucial element of flat space. Because the screen surface is two-dimensional, frontal planes are used to create a sense of depth and perspective in the frame. In the film “Moonlight” (2016), director Barry Jenkins uses frontal planes to create a sense of intimacy and emotional depth in the close-ups of his characters’ faces. By placing the characters directly in front of the camera, Jenkins emphasizes the emotional impact of their performances.

In flat space, frontal planes are the planes parallel to the screen surface. These planes can be used to create a sense of depth and perspective within the two-dimensional space of the screen. By emphasizing the relationship between objects in the foreground and background, frontal planes can create a sense of distance and spatial separation.

One example of the use of frontal planes in flat space can be seen in the film “The Graduate” (1967), directed by Mike Nichols. In the opening sequence of the film, the camera is positioned behind a row of chairs, with the characters sitting in the foreground and the background. The chairs create a clear frontal plane, emphasizing the spatial relationship between the characters and the environment. This use of frontal planes creates a sense of depth and separation within the two-dimensional space of the screen.

Another example of the use of frontal planes in flat space can be seen in the film “The Godfather” (1972), directed by Francis Ford Coppola. In the iconic scene where Michael Corleone (played by Al Pacino) shoots Sollozzo and McCluskey, the camera is positioned in the foreground, with the characters in the background. The use of frontal planes in this scene creates a sense of distance and perspective, emphasizing the tension and violence of the moment.

Size Constancy

Size constancy is also an important aspect of flat space. Because the screen surface is two-dimensional, the size of objects in the frame can create a sense of scale and perspective that is distinct from three-dimensional space. In the film “Jurassic Park” (1993), director Steven Spielberg uses size constancy to create a sense of tension and suspense in the scenes with the dinosaurs. By using shots that emphasize the size and scale of the dinosaurs relative to the human characters, Spielberg creates a sense of danger and excitement that would be difficult to achieve in three-dimensional space.

Textural Diffusion

Textural diffusion and aerial diffusion are also important elements of flat space. Textural diffusion refers to the way that textures and patterns can become more abstract and diffuse in two-dimensional space, while aerial diffusion refers to the way that objects can become more hazy and indistinct as they recede into the background.

Textural diffusion refers to the way in which the level of detail or texture in an object can affect its perceived position in the frame. In general, objects with more textural detail appear closer to the viewer, while objects with less detail appear farther away.

In flat space, this principle can be used to emphasize the two-dimensional nature of the screen surface. By reducing the level of detail in objects in the background, filmmakers can create a sense of depth without actually breaking the flatness of the frame.

In the film “Blade Runner” (1982), director Ridley Scott uses both textural diffusion and aerial diffusion to create a sense of the futuristic cityscape. By using shots that emphasize the textures of the city’s buildings and streets, as well as shots that show the city shrouded in fog and smog, Scott creates a sense of otherworldliness and danger.

An example of textural diffusion can be seen in the film “The Grand Budapest Hotel” (2014). Director Wes Anderson uses textural diffusion to create a sense of depth and perspective in many of his shots, while still maintaining the flatness of the frame. In one shot, for example, the camera pans across a snowy landscape with a small village in the background. The village buildings are rendered in a simplified, two-dimensional style with minimal detail, which helps to create the illusion of depth without disrupting the flatness of the frame.

Shape Change

Shape change refers to the way that shapes can become more abstract and distorted in two-dimensional space, while color separation refers to the way that colors can become more vivid and distinct.

Shape change is another important aspect of flat space. When objects move across the screen in flat space, their shapes can become more abstract and distorted due to the limitations of the two-dimensional plane. This can create a unique visual style that emphasizes the flatness of the frame.

An example of shape change in flat space can be seen in the film “Waking Life” (2001). Director Richard Linklater used rotoscoping, a technique in which live-action footage is traced and then animated, to create a dreamlike, surreal world in which shapes and forms are constantly shifting and morphing. In one scene, the protagonist walks through a park and the trees around him seem to bend and twist as if made of rubber, emphasizing the dreamlike quality of the scene and the two-dimensional nature of the animation.

Color Separation

Color separation is an important aspect of flat space. Because the screen surface is two-dimensional, colors can become more vivid and distinct, creating a striking visual effect.

Color is an important aspect of flat space, as the use of warm and cool colors can create a sense of depth or flatness within the frame. In the flat space aesthetic, the warm/cool color range must be reduced to maintain a sense of flatness and limit the depth cues within the frame.

Reducing the color palette to only warm or only cool colors can emphasize the flatness of the frame. Warm colors such as red, orange, and yellow tend to advance and can create a sense of depth, while cool colors such as green and blue tend to recede and can create a sense of space. By limiting the color palette to either warm or cool colors, the depth cues within the frame are minimized, creating a sense of flatness and two-dimensionality.

In the film “The Grand Budapest Hotel” (2014), director Wes Anderson uses a limited color palette to create a sense of flatness and stylization within the frame. The film features predominantly warm colors, with bright pinks, oranges, and yellows dominating the color scheme. This use of warm colors creates a sense of flatness and two-dimensionality within the frame, emphasizing the film’s stylized aesthetic and sense of whimsy.

Similarly, in the film “Moonlight” (2016), director Barry Jenkins uses a limited color palette to create a sense of flatness and minimalism within the frame. The film features predominantly cool colors, with blues and greens dominating the color scheme. This use of cool colors creates a sense of flatness and two-dimensionality within the frame, emphasizing the film’s focus on character and emotion over visual spectacle.

In conclusion, color is a crucial aspect of flat space, as the use of warm and cool colors can create a sense of depth or flatness within the frame. Limiting the color palette to either warm or cool colors can emphasize the flatness of the frame, creating a sense of two-dimensionality and minimizing depth cues. Filmmakers can use this technique to create a stylized aesthetic, emphasize character and emotion over visual spectacle, or simply to create a sense of flatness within their work.

In the film “The Grand Budapest Hotel” (2014), director Wes Anderson uses bold, saturated colors to create a whimsical and visually stunning world. By emphasizing color separation, Anderson emphasizes the graphic design quality of the flat space, and creates a sense of depth and perspective in the frame.

Overlap

Overlap is another important element of flat space. Because the screen surface is two-dimensional, objects can overlap and intersect in the frame, creating a sense of depth and perspective.

Overlap is an interesting aspect of flat space that can be both desirable and problematic. On one hand, overlap can suggest depth and create a sense of spatial separation between objects in the frame. On the other hand, too much overlap can undermine the flatness of the space, creating a sense of three-dimensionality that can detract from the overall visual effect.

In the film “Citizen Kane” (1941), director Orson Welles makes use of overlap to create a sense of depth and perspective within the two-dimensional space of the screen. In the iconic shot where Charles Foster Kane (played by Welles) stands in front of a giant poster of himself, the overlap between Kane and the poster creates a sense of spatial separation, emphasizing the larger-than-life quality of the character.

However, as noted, too much overlap can undermine the flatness of the space. In the film “Pulp Fiction” (1994), director Quentin Tarantino uses overlap to create a sense of chaotic energy in the dialogue scenes. However, some critics have argued that the excessive use of overlap in the film can be disorienting, making it difficult for the viewer to focus on the dialogue and follow the plot.

In the film “Pulp Fiction” (1994), director Quentin Tarantino uses overlap to create a sense of tension and uncertainty in the scenes where characters interact with each other. By positioning characters in the foreground and background of the frame, and allowing them to overlap and intersect, Tarantino creates a sense of complexity and ambiguity in the space.

Focus

Focus is also an important aspect of flat space. Unlike in deep space, where focus can be used to create a sense of depth and perspective, in flat space, focus is often used to emphasize the two-dimensional nature of the screen surface. In the film “The Big Lebowski” (1998), directors Joel and Ethan Coen use a combination of deep focus and shallow focus to create a sense of visual interest and complexity in the frame. By using deep focus to show multiple planes of action in the same shot, and shallow focus to highlight certain details or characters, the Coen brothers create a sense of visual depth and interest in the flat space.

Focus is an important aspect of flat space, as blurred objects in the frame can appear flat regardless of the depth cues they contain. In the flat space aesthetic, foreground, middle ground, and background objects can often blend into one flat plane when they are out of focus, creating a sense of limited space within the frame.

In the film “Lost in Translation” (2003), director Sofia Coppola uses focus to create a sense of emotional distance and isolation between the two main characters, played by Bill Murray and Scarlett Johansson. In several scenes, the characters are shown out of focus, with their features blurred and indistinct. This blurring creates a sense of flatness in the frame, emphasizing the emotional distance between the characters and the sense of detachment they feel in the unfamiliar city of Tokyo.

Similarly, in the film “Blade Runner” (1982), director Ridley Scott uses focus to create a sense of ambiguity and unease in the futuristic cityscape of Los Angeles. In several shots, the neon-lit skyscrapers of the city are shown in the background, out of focus and indistinct. This blurring creates a sense of flatness in the frame, emphasizing the anonymity and impersonality of the city, as well as the sense of uncertainty and ambiguity that pervades the film.

Up Down Position

Up-down position is also an important aspect of flat space. Because the screen surface is two-dimensional, the position of objects in the frame can create a sense of balance and symmetry. In the film “The Shining” (1980), director Stanley Kubrick uses up-down position to create a sense of psychological unease and disorientation. By positioning the camera at unusual angles and showing characters from unusual perspectives, Kubrick creates a sense of visual distortion and disorientation in the flat space.