In recent years, with the strong support of the state, the domestic animation industry has been developing rapidly. Not only have commercial animation films achieved initial success in the market, but artistic animation and independent animation have also gradually entered the public eye, but with the influx of a large amount of capital, many low-quality animation films that purely cater to the commercial market have emerged in large numbers. For a comprehensive art that combines video and painting, animated video in particular needs a scientific, logical and aesthetic theory to guide its creation.
　　Based on the fact that film semiotics is a set of sectoral semiotic theories that focus on the text and the psychology of the subject, this study analyses the symbolic construction principles of film semiotics from the perspective of film semiotics, focusing on the dialogue between the theory and the text of animated images, and analyses the theoretical semantics of the first film semiotics such as the three levels of the symbolic sub-sections and the eight combination segments, as well as the content of the psychological mechanism of audience viewing in the second film semiotics. The study also examines the psychological mechanisms of audience viewing in the second film semiotics, such as the audience identification mechanism and the relationship between film and dreams. Meanwhile, in the study of the ideographic mechanism of the animated image symbols, the main themes of “truth” and “ideography” are put forward, and the characteristics of the animated image symbols, such as distortion, deformation and ideography beyond reality, are proposed, and the way of presenting the ideographic mechanism of the symbols in the creation of animation is derived. Based on this, the author attempts to construct a symbolic code for animation through personal animation creation, providing a certain semiotic methodology for animation creation at the levels of text construction, art design, audiovisual language and cultural symbolic design, as well as contributing to the study of film semiotics and promoting the development and progress of video art.