The text looks at semiotics in animation, a branch of semiotic which, as far as the author knows, has practically never appeared in its pure form. Such barely existing scientific discipline is here derived from the comparison with a relatively established film semiotics, considering the similarity between animated and film (photographic) moving images, the basic characteristics of which in most pert overlap. A case study was conducted on the animated films by  Croatian author Nedeljko Dragic, due to their complexity and richness of layers in terms of symbolic charge. Instead of treating the artificial movement in animation as a mimetic reflection of reality, as most of his colleagues do, Dragic takes interest in a moving concept, in a thought brought to life, in visual anthropology amd in animated documentarism, particular topical in our times. For Dragic, a viewer is an active consumer snd he perceives the act of screening as intersubjective communication, an idea that will become popular only in our postmodern times. Of course, this is not a coincidence, this is the intuition of the author who has always looked at the future with the full force of his creative energy.

Key words: Animated film, semiotic, sign, Nedeljko Dragic, Passing Days, Diary, Tup-Tup