"A man leaves his usual surroundings and settles down In a place he has built himself. Shut in there with his tape-recorder, he follows Désiré de Julilet, the hero of a story he wrote. The by-standing movie-team whitnesses the man's premeditated (or may-be not?) movements and the hearing of Désiré de Julilet. But there is another ghost-camera which watches until the end..."The problem of METAMORPHOSIS OF THE IMAGE, otherwise a basic issue of architecture and urban planning, is approachable by comparative examination between the semiotic analysis and the experimental synthesis of AUD1OVI DUAL LANGUAGE AND COMMUNICATION. With the basical hypothesis that Semiotics object of research is the final aspect of depiction, while the picture's composer's object of research is the process of its production, the film attempts to point out the METAMORPHOSIS of the rules of perceiving and composing depiction that result from these two gnoseoiogical systems. Through the analysis of forms and structures regarding: a. the semiotic approach that connects depiction to the grammar and syntax of language, and b. the picture's composer's knowiegde, which attaches SIGNIFICANCE to the depiction according to the technique of production - elaboration of the final proposition, the function of communication and the form of the composition - film, where semiotics had a decisive Influence on the interpretation and perception of the pictural aspects for the last 20 years, it Is pointed out that the complexity of composition rules reaches a point of indetermination. The film "DESIRE DE JUILLET" examins the relations between the two systems (knowledge signification), as a typological example of research application, the synthesis of which is guided by a "POST-SEMIOTIC" attempt of commenting the semiotic rules. This research aims at a personal articulation of a discourse for the elaboration of depiction, where semiotics are incorporated as a complex instrument for the handling of psychology, perception, Ideology, aesthetics, with the particularities of the process of producing an audiovisual language, delivering the rules of picture's composition from a one-dimentlonai semiotic critical Interpretative influence."