The third type of semiotic codes are filmic, and actually refer to the film itself. Filmic codes use certain types of music to portray different emotions. An example of this is the shower murder scene in Alfred Hitchcock's Psycho. The famous high-pitched screeches help transport the audience into the woman's body and experience her terror. Certain types of music help describe different emotions. Rarely will you see a car chase without upbeat, bass-ridden music to keep the audience's adrenaline pumping. Conversely, slow melodic music is more effective at conveying the emotions behind love. Regardless of which emotions are in a scene, certain types of music make it easier for the audience to put themselves in the actors shoes.
The three types of semiotic codes help direct the audience's attention to certain aspects of the film. Musical codes direct the viewers' attention to the music for its aesthetic value alone. Cultural codes point the audience outside of the film, and play on the cultural associations of certain types of music. On the other hand, the music in filmic codes refers to the movie itself, and facilitates the description of emotion.

The three different types of semiotic codes can work together in tandem. In the film Reality Bites, directed by Ben Stiller, all three types are apparent in one particular scene. Near the end of the movie, Ethan Hawke takes the microphone at a local coffee shop, and attempts to win over the woman of his dreams by singing the song I'm Nuthin.

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