Vol. 7, Issue 1, Part E (2025)

Psychological emotions and human feelings occupy a significant place in the concerns of the dramatic visual industry, whether in cinema or television. These are among the most important and powerful means of contemporary expression, based on an inexhaustible reservoir of semantic energy and aesthetic values. This has made dramatic discourse, whether film or television, a focus of audience interest and a production priority for the entertainment industry, and for the purpose of intellectual or social mobilization pursued by decision-makers and those in power in a given society. This intertwining of psychological identity and the mechanisms of camera operation did not arise by chance or forced exploitation, but rather is a connection between the themes of drama itself and those deeply embedded in the human psyche. Since its earliest productions, spanning thousands of years, drama has focused on the human being, what he means, what he suffers, what he feels, what determines his behavior, and what shapes his essence. Dramatic and non-dramatic genres have emerged that address these aspects, becoming what is termed psychological drama, psychological film, or psychological series, similar to other artistic genres such as historical, novelistic, political, romantic, religious, and others. Qualitative patterns emerge with the advancement of production and its diversity in accordance with emerging themes, along with visual techniques that allow for the expansion of these variations, helping filmmakers access the deepest recesses of the human psyche and understand its afflictions, thus making them visible to audiences according to the necessary dramatic, artistic, and technical foundations.