The term image relates to the reference of the film to reality. It is one of the principal areas of the considerations of film theoreticians. The subject of image occurs in the early beginnings of the film theory having been hitherto verified by various speculations. It is about finding the most exact denomination of film in volatile and changing environment and whether is it technological or methodological. History of examination of the image thus replicates history of cinema and allows quite accurate understanding of its perception and the changes of its perception throughout its performance. Many elements of the fundamental characteristics of the image are often repeated by several theoreticians, but there are also many points in which their views differ. Unlike conventional signs, such as words, the film signs in the image do not automatically comprise into chains. They are surrounded by a wide semantic area with the different interpretations in the different cultures and times. How film creates meanings and how and why are we captivated by these meanings – these are the basic questions of a film theory. The film image is a material phenomenon, which objectifies through film ability of reproduction subjective idea of the author´s signs in the image. The chain of communication depends on how the viewer comprehends the meaning. Unlike an abstract art, the film (with the exception of some experiments) must operate with reality. It is important how the film can encode it and make it exceptional. It gives a new or a different view and particularly, sort signs forming the images into the contexts.