‘A film’, writes Deleuze, ‘is never made up of a single kind of image … hence the inter-assemblage …’ (C1: 70). Every film is composed of lectosigns, noosigns, chronosigns, hyalosigns, opsigns and sonsigns, perception-images, affectionimages, impulse-images, action-images (small and large), reflection-images (figures of attraction, inversion and discourse), mental-images (dreams, recollections and relations). Cinema is a univocal matter-image composed of a matrix of actual images that have virtual correlates – to a greater or lesser degree. Every film is an assemblage of every genetic sign and all the compositional signs of the cineosis. A character or characters will emerge from out of gaseous perception, creating a centre or centres through liquid perception towards a solid perception of a subject. These characters will gather up the amorphous intensities – qualities and powers – of the any-space-whatever, entering into dividual relations with the mass and becoming an icon which expresses affects through the face. Such affects will pass into action: as impulses and symptoms of the world of primal forces; as behaviours which both reveal the world and attempt to resolve the world through the determined situation. Such characters and such situations can be reflected upon and so be transformed through cinematic figures equivalent to metaphors, metonyms, inversions, problems and questions. And these films will – furthermore – allow characters their dreams and imaginations, their memories, and allow them to understand and comprehend the world through mental relations. Yet, at every moment, and at every juncture, the grounding of such a sensory-motor system is ungrounded. The characters may find themselves dissolving into a background to be swallowed up by gaseous perception, the any-space-whatever. The film may start to fragment, chronological time, comprehensive space and human consciousness may disperse, become displaced and dissipate. Opsigns and sonsigns are the negative condition of such dispersion, displacement and dissipation. No longer can the sensory-motor system describe the link between images. Accordingly, new ways of describing the film are needed, a new terminology, a new semiotic that takes into account not only the linking of actual image to actual image, but the virtual correlates of an image which relink fragments. Hyalosigns are image fragments which retain their fragmentary nature and coalesce as narration as chronosigns.