The paper investigates the active perception through analyzing relations between Bogdanov’s notions of the affectional, Eisenstein’s theory of expressiveness, and the emotional script as conceived by Eisenstein and realized by Rzheshevsky. Employing Bogdanov’s revised notions of affectional and of ‘activity – resistance’ as elements of any organization or complex, Sergei Eisenstein develops the principles of expressivity. He sees emotions as an organism’s embodied reaction to its interaction with the environment. Eisenstein proposes a notion of an emotional script, which is a narrative of a prospective viewer telling what has impressed him. Aleksandr Rzheshevsky, a scriptwriter of Eisenstein’s never completed Bezhin Meadow (1937), became an “emotional scriptwriter” in practice.