The effects of violence on television have been extensively studied from an experimental perspective, which somewhat avoids the interaction between transmitter and receiver. This work presents a complementary perspective that takes into account the interpretation and development of broadcasts by viewers. It is proposed to identify and analyse the social dimensions mediating emotional experiences of TV violence and how these emotional dimensions, which are built in discourse, are linked to attitudes, ethical dimensions and positions of action. The speech analysed came from eight focus groups – composed differently in terms of gender, age and educational level – which were analysed on the basis of the emotions they experience with violence on television. The analysis of the speech shows, first, the importance of a first emotional mobilisation, with references to complex emotions, and, second, an articulation of emotional experience with the repetition of scenes (mode, classification and evaluation), acts (legitimation or not) and characters (identification or desidentification). In conclusion, the dual impact of emotions (immediate and delayed) generates complex narratives leading to a single course of action characterised by responsibility and fault, which can only be taken into account by assuming the active role of spectator.The effects of TV violence have been wisely studied from an experimental perspective, which, to a certain extent, neglects the interaction between broadcaster and recycling. This study proposals a complementary approach, which took into account viewers’ interpretation and construction of TV messages. Social dimensions influencing emotional experiences to TV violence will be identified and analysed, as well as the way Emotions are built in discourse, how they are linked to attitudes, ethical dimensions and courses of action. Severe focus groups (segmented by age, gender and educational level) are the basis of a discourse analysis that reconstructed the way audiences experience TV violence. Results show the importance of a first immediate emotional mobilisation, with references to complex Emotions, and a second emotional articulation of experiences regarding repetition of SCENES (type, classification and assessment of broadcasts), legitimation (or lack of) of violent acts, and identification (or lack of thereof) with main characters. In conclusion, the double impact of Emotions generates complex Narratives that lead to a single course of action characterised by responsibility and Guilt, which can only be taken into account by adding the active role of viewer.