Even though the film concept is generally recognised as a nineteenth-century invention, the pre-cinema world, dreams of the eye, and visual narratives go back much further when conceptualising the singular eye began as a means of creating a thin foreskin that separates everybody from its surroundings and could be readable. Plato is the most representative author of the paradigm of the movement of inner thoughts and their visibility screen, which creates the idea of black-and-white cinema.Usually, visions are unified and treated like "normal perception," which makes ceteris paribus. However, from the beginning of their creation and conceptualisation, they have different complexity levels.The paper aims to deepen the understanding of visual meaning by tracing the morpho- and semiogenesis of the constructions of visions mentioned above and characterising their semantic features. It also describes the technical innovations of image production and reproduction, allowing the establishment of visual regimes of meta-seeing—ways of re-seeing.We admit from the outset that, as experienced film directors, we will try not to use either our own or other filmmakers' film samples. Together with five of our colleagues, we will create vision variations of the "operator's eye," showing, according to Peirce, different clarity levels /How to make our ideas clear/. That is why we need at least one hour for the presentation.