Deleuze, in the Cinema books, unfolds a cinematic semiosis – a cineosis – describing a vast array of elements. The Second Introduction explores this aspect of Deleuze's film theory through sixteen chapters, each one of which focuses upon a particular image, the signs which constitute that image, and – correspondingly – the avatars, domains and regimes into which these signs and images coalesce. Section II thus shifts towards a direct cinematic encounter in the wake of the philosophical genealogy of Section I: the three investigations into Bergson's theory of image and duration, Peirce's pragmatic semiosis and the syntheses of time, space, and consciousness from Deleuze's own Difference and Repetition. These investigations gave us the two regimes of movement-images and time-images; identified the number, arrangement and types of elements devolving from these regimes; and – finally – discovered a new perspective, that of the cineosis as a univocal multiplicity. Section II develops this new perspective. To do so, it approaches the Cinema books by way of an explication of each image and its sign elements along a serial trajectory. In this way, the aim is to name and describe each image and sign in turn, as well as to recognise and resolve any terminological overlappings, embeddings, duplications and lacunas within the possible coordinates given in the philosophical framework of Section I. (Terms created to ‘fill in’ lacunas will be signalled – in this section alone – with italicisation.) This serial unfolding will be deployed in Section III, which will exploit each of the signs to open up – in some way – the cinematographics of a film. Here, and in anticipation of such adventures, the objective is to explicate the cineosis as a logic, a series of images, where each sign is delineated and diagrammatised.