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The paper focuses on the issue of intermedial references, the matters of conditions, necessity and relevance of their interpretation. It discusses the question of  semantic  value of an intermedial reference rather than of its aesthetic, pragmatic, modal or other aspects. It considers the lack of coherence between the theoretical propositions of intermedial studies, grounded in the studies of intertextuality, and the practice of analysis. In theory, every intermedial reference configures semantic dialogue between qualified media (configurations), thus requires conceptualisation. Yet, the practice of analysis reveals that some of them perform exclusively aesthetic function and invite to keep reception within the limits of perception. Therefore I make an attempt to define the criteria of textual request for conceptualisation/interpretation set up in a text as such. I propose to revise the relevant insights of different intertextual and semiotic approaches, to perform their revision, modification and extension, to articulate possible solution and exemplify it by filmic references to painting.

Intermedial references and signification: Perception versus conception