In recent years, with the development of 5G and the innovation of artificial intelligence, VR and AR technology, interactive video has gradually opened up a new consumer field and imagination space. The birth of new technology means the advent of new opportunities, it provides the potential for the development of interactive entertainment. In the future, interactive film and television may become a new field of visual culture communication.This study takes the practice of interactive film and television in China as the window, and tries to sort out its development context, sort out the literature of the research on interactive film and television, and find out the shortcomings of the research. At the same time, based on the theories of interactive narrative, interactive ritual chain, projective identity, etc., this paper compares the similarities and differences between interactive film and television, traditional film and television, and games, and analyzes their characteristics and innovations. On closer inspection: the value of "interaction" has been proved by games. Then there is the question: what is the value of interactive film? This is the key question to be discussed in this paper. Guided by content analysis method, this study attempts to conduct quantitative analysis on 30 representative domestic interactive film and television works from three dimensions of plot (story) setting, role setting and interaction design, and on this basis, 8 interviewees are selected to conduct semi-structured interviews. Through the combination of quantitative research and qualitative research, this paper leads the discussion of interactive film and television to a deeper level from two perspectives of content creation and audience experience.It is found that the content characteristics of interactive films and TV shows are different, and there is a correlation between plot and character design, plot and interactive option setting. Different types of interactive works also reflect the alienation trend of travel. The main factors influencing the interactive effect are the content production level, the audience's psychological expectation of the work and the actual interactive experience. In addition, the disturbance of the interactive interface to the plot and the lack of adaptation between narrative and interactive options may easily lead to negative comments from the audience. Based on this, in the last part of the paper, the "broken circle" new path of interactive film and television is proposed, and three innovative points of interactive film and television in the communication content are summarized. In the conclusion, combined with the current interactive film and television ecological environment, the future development of its strategic suggestions.