Cinema is a symbolic sign stemming from the cognitive and intellectual cultural vessel of the members of its society, and a visual language based on nature and the unity of its construction, a complex system of reality in an infinite form, which is similar to the memory of the receiver with the visual store of previous experiences and future visions (mental images). The cinema poster is an important tool in the formulation of its language and its communication thought, with what it achieves in terms of the interactive relationship between the receiver and the messages addressed. From this standpoint, the research came in a study to explain the potential of the typographic pattern in the poster capable of achieving the encoding of the content of artistic works presented within a complete scenario, through the designer's creativity in treating these different patterns, which helps the receiver in preserving the messages represented by the informative content in the receiver's visual memory. Hence, the aim of the research came in a study of the absence of design systems capable of graphic treatments of the typographic element within the Arab film posters, compared to the film poster in foreign societies and that is through a descriptive, analytical approach of Arab and Western models during the history of cinema, showing the extent of intellectual development in that communication aspect in one of the channels (the field of semiology).