Our work aims to verify the intersemiotic relationship between the short story “Las babas del diablo” (1959) by Argentine author Julio Cortázar and the film Blow Up (1966) by Italian director and writer Michelangelo Antonioni, through the analysis of the process of translation of the literary text for the film adaptation. We will use the General Theory of Piercean Sign and the intersemiotic translation of Julio Plaza, considering the three classes of sign, index, icon and symbol, investing in the analytical properties of this research base; the comments on film adaptation, cinema and literature by Tânia Pellegrini; and the Transcription Theory by brothers Augusto and Haroldo de Campos. We focus on two aspects of this translation process that correspond to the iconic effect of the process of rewriting and transcription in Blow Up, and how the main figures of the literary narrative are presented observing the behavior of the sign in the process of displacement between languages.