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This article deals with the film semiotics of the French film theorist Christian Metz. At first, it introduces the film theories before Metz, which saw the cinema just as like a language. They are the explanations of the following theorists: Riccioto Canudo, Louis Delluc, Béla Balász and the Russian formalists, Tynianov and Eikhenbaum etc.. And then it has been explained, under which background Metz sees the cinema as the language. Metz tried to search for what corresponds to Saussure’s ‘langue’. For him, it is the purpose of the film semiotics to find the langue as the signification system in the cinema. According to Metz, however, the film does not constitute the same system as the language system, because the film lacks in 'arbitrary sign', 'minimal unit' and 'double articulation'. Nevertheless, the film gets in the end the systemic feature, for it is the systemic language in that it has the matter of expression, and in the metaphoric sense. For Metz, The Grand Syntagmatique is a systemic language in the cinema. Therefore, this article explains especially its eight types. But the given studies in Korea tends to explain only the background of the Metzian film semiotics and its some terms superficially. For that reason, this article introduced the eight types in detail, so as to overcome the limits of those studies and to make use of the eight syntagmas in the practice of the film analysis.