The author deals with the following question; to what extent film - considered in terms of language communication - can be characterized by features allowing for classification on an artistic "order". This is based on traditional literary research, especially the achievements of the Russian Formalists and the Prague School of Linguistics. The author specifies the characteristics of artistic language as individualization, emotional appeal, violation of standard rules, excessive organization of the language, and the weakening of the referential function. Then, accepting the thesis of the massive heterogeneousness of the film sign, she searches for the rules governing the "artisticness" on the level of the image, spoken language, music, etc., and tries to support her stetements through psychological perception.

There are two basic conclusions to the article:

1) systemic relations in filming, distribution, and conjunction rules, are generated on the level of a particular film (the thesis based on the semiotics of film), and

2) "artisticness", understood as rule-breaking, is achieved through devices violating semantic cohesion (e.g. shots) and conspicuous particularity of presentation.