Abstract
The paper analyses semiotic problem of our interpretation expectances of photographic image as evidence of a crime, as it appeared in Antonioni's film Blow up. The analyse consists in a semiotic discernment of our interpretation expectances in case of photograph as a fixed image based on a print (Didi-Huberman, Frazer), and in the case of the film as an image-motion based on a photograph (Deleuze, Bergson).
The proposed solution consists in a final connection of these two ways of analyse, according to the Peirce's theory of unlimited semiosis.