從符號學的觀點來說，語言結構是pre- given（被給定）的框架，先於世人存在。人們表述自己的想法時，必須得遵從語言結構的規則，方能確切的展現自己的觀點，讓他人明瞭。就符號學之父Saussure來看，語言規則落實在組合關係與聯想關係；其後如Metz等影像學者，則依語素及影素等多所延伸。 組合關係可表現在文法結構、語詞間如何組合之上。而聯想關係則意謂著，人們可以隨著符號具、符號義的相仿，想到同類型的詞語，加以替換。易言之，當人們要表現自己的想法時，並非隨心所欲的。當人們要從生活資料庫裡揀選適合的語詞時，得服膺組合（如根據文法，來架構自己的話語）、聯想（以同類、等價符號相互替換，延伸更多的想像空間）之規則。 本文基於影像語言之組合與聯想關係，由電影符號學起始，分析LV設計師村上隆製作之動畫《Superflat Monogram》與《Superflat First Love》。研究發現，敘事者可藉由目標群眾熟悉之文類及近用媒介方式以舖陳故事線，將次文化所喜之元素加以組合；亦可藉由符徵之聯想關係，讓影像敘事內容呼應品牌意象。故善用目標族群熟稔之文類、生活風格與次文化氛圍，乃為敘事不可忽略之面向，或可予設計教育若干靈感。

In Saussure‘s view, we should follow the linguistic rules while speaking some utterances. He also elaborated the linguistic laws including two facets, syntagmatic relations and associative relations. Saussure has impacted communication research very much. In advertisement filed, we can find that large articles have followed his perspective to study signified and signifiers in texts. But it is a great pity that few papers discuss the mechanisms of image languages. The author tries to put more emphasis on the logic of image rhetoric, and portrays the syntagmatic and associative relations in visual form. As the article mentioned, the syntagmatic relations of images can be represented in two way, including cinemes and the syntax of frameworks. In the associative relations, people can constructs them by simulation of out forms and conceptions.