互动影视剧是近年来出现的一种崭新的艺术形式和媒介形态，其融合了影视剧的叙事性和游戏的操作性，可以满足影像内外交互的需求：观众可以操纵角色，参与剧情、把控结局，这在影视行业、创作领域引起了巨大反响。伴随着这一崭新的影像和媒介现象出现和发展，互动影视剧究竟是什么、其如何建立叙事、未来发展方向如何，在何种程度上丰富甚至改变过往影像内容的叙事方式……这些问题有待研究和厘清。本研究从叙事视角出发，基于媒介融合的背景来系统认识互动影视的发生、形态、结构和实践。在叙事的框架下，通过对互动影视作品的研究和梳理，试图概括：互动影视剧如何出现和发展、交互性怎样建立、互动影视剧内部的结构和形态如何、未来将走向怎样的发展方向。本研究首先通过历史研究和媒介考古的方法，沿着叙事艺术的发展、叙事理论的转向和媒介的演进，在叙事框架下探讨互动影视剧的发轫，勾勒出互动影视剧的发展脉络：互动影视并不是一种颠覆性的创新，交互的诉求其实是历来的诉求。而交互性居于互动影视剧的概念核心。在技术建立的基础上，人机互动、人际互动和深层沉浸互动这三种不同的互动方式，使互动影视呈现出不同形态，包括互动视频、VR互动电影、交互纪录片项目等，每种形态的观众介入程度不同。在对具体作品展开叙事分析的基础上，本研究发现：交互的发生深刻地改变了影视剧的形态呈现、媒介特征和创作方式，变化源自作品的内部结构，在影像语言、视角、结构和时空这四个方面发生了变革，使互动影视剧最终呈现出区别于以往电影和电视作品的美学特征和媒介生态，有了成为一种新型叙事艺术形态的潜力。另外，本研究选取具有典型性的、影响较大的互动影视剧作品，在阐述互动影视剧的视听语汇、互动设置与结构和未来发展之时展开个案研究，结合专家访谈法，从叙事手段和商业制作等方面进行观察分析。依此，本文构建了互动影视剧研究的理论体系。最后，本研究总结了互动影视未来的发展方向：尽管不足以替代主流影视剧，但也将长期存在和发展，并朝着四种形态演变；同时基于交互叙事所蕴藏的商业潜力，制作模式和创作模式上的创新，提出一些建议。本研究试图对互动影视剧这一新形式和新样态建构一个理论研究的体系和框架，基于叙事理论和具体案例的未来展望和建议策略，对业界实践具有一定的指导意义。

As a new form of art and media that has emerged in recent years, interactive movies and series combine the narrative of movies and series with the operability of games. They meet the need for interaction: audiences can manipulate characters, participate in the plot, and control the ending, which has brought a great deal of reaction in the film and television industry as well as in the creative work. The development of interactive movies and series has led us to think about what they are, how they narrate, how they will evolve in the future, and to what extent they extend and change the way often used by movies and series to tell stories. It is very necessary to answer these questions. From a narrative perspective, this study systematically understands the occurrence, form, structure and practice of interactive movies and series in the context of media convergence. Within the framework of narrative, this study seeks, through an in-depth analysis of a number of products from interactive movies and series, to provide how interactive movies and series emerge and develop, how they create interactions, how they are structured and formed, and what direction they will take in the future. Adopting the methods of history research and media archaeology, along the development of narrative art, the turn of narrative theory and the evolution of media, under the framework of narrative, this study starts with exploring the initiation of interactive movies and series to outline the development process of interactive movies and series: interactive movies and series is not a disruptive innovation, the need for interaction has always existed. Interaction is at the core of the concept of interactive movies and series. Based on the established technologies, three different types of interactions - human-machine interaction, human-human interaction and deep immersion and realistic interaction - have led to different forms of interactive movies and series, including interactive videos, VR interactive films, interactive documentaries, each with different participation of audiences. From the narrative analysis of specific works, this study finds that the occurrence of interaction has led to profound changes in the morphological presentation, media characteristics and creation methods of movies and series, which originate from the internal structure of the works, as well as changes in the aspects of image language, perspective, structure and time and space, enabling interactive movies and series featured by aesthetic characteristics and media environment that distinguish them from previous film and television works, and with the potential to become a new narrative form. In addition, this study selects some typical and influential interactive movies and series works, conducting case study when expounding audiovisual, interactive setting and structure anlysis as well as future development outlook, oberving them from the aspects of narrative and commercial with expert interviews. In this way, a theoretical system for research on interactive movies and series is developed in this study. In the end, this study provides the future direction of interactive movies and series by pointing out: interactive movies and series are not in the position to replace mainstream movies and series, they will remain in the long term and evolve toward four forms; and it also makes suggestions on business, production and creation models.In conclusion, this study seeks to develop a system and framework for theoretical research on interactive movies and series. The future prospects and suggestions developed on the basis of the narrative theory and specific cases in the study will provide some guidance for the practice of the industry.