Abstract
This article has Brazilian movie posters as its object of study and tries to inves gate how they con nue a project that integrate verbal sign and its iconic interfaces, from the origins of the western visual poetry to the recent creative processes in printed media. The reflections intend to demonstrate how this hybrid communicative products explore interchangeable signs between form and sense, words and images, looking for a possible (re)articulation of questions linked to gestalt perception. An intersemiotic reading enphasizes the importance of considering a kind of “typo/icono/graphy” in the language of the contemporary posters, based on Charles Sanders Peirce’s theoretical concepts.
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