In recent years, vertical screen film and television creation has quietly emerged. In just five or six years, from the main focus of long dramas to the competition between long dramas and micro short dramas, from the horizontal screen mode to the vertical screen shooting of many works, the production and dissemination pattern of film and television has undergone profound changes, along with changes in the creative production mode and audience acceptance mode. How film and television practitioners should respond to the changes brought about by this technological innovation in the film and television industry, these issues urgently need to be considered by the industry. The vertical screen mode originated with the popularity of smartphones and the rise of short videos. Audiences are accustomed to the vertical screen reading mode of single handset, single hand sliding, up and down, fast and free, and the real-time and fragmentation mobile viewing mode. The horizontal screen long videos, which were originally mainstream in film and television creation, have become incompatible with the mobile internet context and mobile viewing mode due to factors such as time length and narrative rhythm. So, the vertical screen mode emerged. In 2017, Tencent News released the vertical screen program "Talking to Strangers", introducing the vertical screen mode into film and television creation. Afterwards, the video platform began to layout the production of vertical screen film and television works. In 2018, iQiyi launched "Life Killed Me", a vertical screen drama that gained a good reputation among the audience. They also "pursued the victory" and produced the vertical screen series "Life Killed Me 2" and "Director Killed Me". But the "Got Started" series is a series of independent comedies with each episode, lacking the stickiness to attract users to watch the story continuously. Compared with traditional horizontal screen dramas, the dissemination effect is far from satisfactory. After video websites saw the limitations of the dissemination of comedy dramas, they turned to vertical screen series production. In the past two years, the thriving short video platform has become a new fertile ground for vertical screen mode creation. Many plot numbers and mini programs with vertical screen film and television works as the main content have sprung up like mushrooms after rain. This type of work has a large quantity but generally poor quality, with serious imbalances in creative themes, repetitive content routines, and even vulgar and rough plots. Some works have used technological means to break away from regulation, becoming a disaster zone for pornography, vulgar, bloody violence, low style, and aesthetic vulgarity. In response to this situation, at the end of 2022, the General Office of the State Administration of Radio, Film and Television issued a notice on further strengthening the management of online mini dramas and implementing the creation improvement plan, which regulated and rectified micro dramas, including vertical screen dramas, and pointed out the direction for future development. To achieve high-quality development in vertical screen film and television creation, it is necessary to conduct in-depth analysis of the artistic characteristics and aesthetic style of the vertical screen mode, promote strengths and avoid weaknesses, and leverage its unique advantages. In terms of visual structure, the biggest change in film and television creation from horizontal to vertical is the shift from the horizontal composition of the original left and right relationship to the vertical composition of the front and rear scenes. This leads to a relative reduction in the number of characters and the amount of information conveyed in the artwork, making it less adept at portraying complex events and character relationships than horizontal screen creation. Therefore, in the plot design of vertical screen film and television works, the size of the characters appearing in the same scene can be appropriately compressed, and the environment and scene can be weakened in the composition, so that the focus characters are in the front or in the middle of the vertical depth, while other characters move in the background. By doing so, the audience's attention is more likely to focus on the focus person, paying attention to their appearance, posture, expression, and language, resulting in a 'face-to-face' effect