There are – for Deleuze – two regimes of images in the cinema: movement-images and time-images. Two kinds of cinema each with its own distinct filmic semiotic, a system of signs as a twofold logic. The First Introduction explores, develops but also challenges this aspect of Deleuze's film theory through a genealogy of the philosophies that inspire and organise the cineosis. Chapter 1 is concerned with the creation of the two regimes as a response to Henri Bergson's investigations of image and duration from Matter and Memory. Chapter 2 focuses upon the taxonomy of the movement-image, which unfolds in the wake of the semiosis of Charles Sanders Peirce from Pragmatism and Pragmaticism. Chapter 3 turns its attention to the time-image, where the sign system can be seen as a playing out of Deleuze's syntheses of time, space and consciousness from his own foundational text Difference and Repetition. Chapter 4 returns to Bergson in the aftermath of the explorations of the previous chapters to orient the investigation away from the primacy of the two regimes, and – in anticipation of Section II and Section III – towards an alternative understanding of the cineosis as a univocal series describing a multiplicity of signs.