Recently, viewers who watch movies and TV shows on their mobile phones have found that there are many new features added to video apps. For example, when An Xin breaks up with her girlfriend in "Rage" and her heart aches uncontrollably, when Pei Zhi sees Lin Chaoxi in "The Basic Law of Genius", and when the protagonist in "Strange Script Shark" closes the door with her breath held, her phone will vibrate irregularly, causing the audience to experience the plot with the characters' heartache, heartbeat, and panic. In addition to vibrating according to the plot, video websites have also launched various functions such as small icons related to the plot, such as hearts and flowers, when fingers touch the screen. These interactive appreciation modes that simultaneously "touch people's hearts" with sound, painting, and feeling reflect the new forms of content, new user needs, and new fields of the film and television industry generated by the support of cutting-edge technologies such as 5G, cloud computing, and AI. When these new forms, demands, and trends emerge, how should the film and television industry respond in order to achieve innovative development based on adhering to artistic quality and social responsibility? This issue urgently needs to be considered. ▲ New exploration of materials, images, and images: The composite aesthetic process of immersion and interaction is a contradiction in art appreciation. Traditional film and television is committed to binding the audience's attention to a highly immersive aesthetic space, but new media technology wants to turn viewable images into interactive and even actionable ones, allowing the audience to deeply interact with the plot. Embedding interactivity into film and television appreciation can be divided into three types based on the degree of embedding: information interaction, plot interaction, and perceptual interaction. The information interaction function can be traced back to the button control tracks such as pause and playback that existed when video websites appeared. Although this interaction method is simple, it leaves control to the audience. With the expansion of AI's real-time recognition and search capabilities, the interaction methods are becoming increasingly diverse. When watching a drama, such as "just watch him", or one click encyclopedia, or jump to the mall to watch and buy, these functions shorten the user's consumption path from "interested" to "satisfied". There are also bullet screens that allow users to review while watching, creating a collective viewing experience. With the improvement of media technology, the interaction mode gradually deepens from external viewing to internal storyline. In interactive dramas, the audience is no longer the bystander, but the controller who determines the direction of the story at the bifurcation point of the plot. However, these two interactions only add control options to the viewability of the plot. Recently, dramas such as' Fury 'have achieved sensory interaction with the plot through unexpected vibration functions, allowing users to more realistically experience the protagonist's emotions and psychology, as if they were on site, making the plot more three-dimensional and perceptible. In this situation, the originally contradictory immersion and interactivity are superimposed, making appreciation a composite aesthetic process. This interactive appreciation mode has opened up a new path to experience film and television works, and correspondingly has had a profound impact on the creation and dissemination of film and television. For content production, the closed story space originally led by creators has become an occasional artistic space where the audience is physically present and can participate in operations. In terms of presentation language, the body touch created by new technologies has changed the audience's inherent viewing experience. Multi sensory stimuli such as visual, auditory, and tactile sensations create a richer audience experience