What is proposed is a globalizing investigation regarding the artistic contaminations that the cinema has absorbed throughout its history and, in this immersion, to defend the intertextual character of the creative processes in the cinematographic direction. To this end, a synthesis of the main movements and schools of the history of cinema is attempted, trying to establish relations between the particular and the universal, and in this conjugation give prominence to the most significant creators and their works and, at the same time, to intersect the artistic manifestations which, present in the singular, contribute to illuminate a phase or period of cinematic art.