Gilles Deleuze's two Cinema books create a myriad of philosophical concepts to explore films. This cineosis is like a Russian doll or a Chinese box - proliferating levels of regimes, domains, images and signs. Not only bewildering in number, Deleuze's writing procedures mean his exegesis is composed of paradoxes and silences. Three questions emerge: What are the underlying principles for the creation of these concepts? How many concepts are there? How might each be used in engaging with a film? Commentators have, wholly or in part, left these questions unanswered; instead focusing on the Cinema books place within Deleuze's wider philosophical project. This book is the first to fully respond to the three questions - explicating/unearthing the taxonomies; exploring every concept; and reading a film for each. It maps the Cinema books for newcomers to Deleuzian film studies and opens up new areas of enquiry for expert readers.