Τhis paper focuses on the study of aspects and representations of investigative journalism in contemporary american cinema. Through the appeal to semiotic theory and analysis, the ways and practices that constitute the journalist as an active subject of social and political life are examined. An attempt is made to highlight the semiotic resources that are used cinematically for the representations of the journalist's image. At the same time, the roles and manifestations of journalism in its interweaving with communication, aesthetics and the dominant ideology are also explored. In this context, R. Barthes' legacy is fundamentally exploited as his semiotic approaches to image rhetoric, connotations, mythologies, etc. are employed.More specifically, the films examined are Good night, and good luck (2005) directed by George Clooney, Spotlight by Tom McCarthy and The Post directed by Steven Spielberg. These are films based on true stories, real events and real figures in American society. This results in the recall of an intense intertextuality and representationality that through the cinematic system of signification translate transsemiotically and revive reality multimodally. In the light of the analysis, a series of literary practices of journalistic language also emerge, while the latent qualities, tensions and modalities that nest in the territory of the photographic image are highlighted. A number of cultural interpretative approaches are also developed that enrich the analytical project. At the same time, the value of semiotic analysis and the need for media literacy as necessary skills in today's complex digital and cultural environment are emphasized.