This article explores the Cinematic theories of Gilles Deleuze, while discussing the philosophical theories of Henri Bergson. Deleuze argues that Bergson's notion of the perceived object as images with a consciousness that act as a 'center - point' for all images, relate directly to the notion of the 'new-image' or 'montage'. Bergson's theories of image or movement are formulated around the notion of matter as an 'aggregate of images'. The camera for Deleuze is a conscious repetition of life through art represented by the intersection of two lines perpendicular to each other: 'one a vertical line of memory and the other a horizontal line of space'. He writes on the films of Stan Brackhage, Jordan Belson, Ken Jacobs, Jean-Luc Godard and Michael Snow as filmmakers whose images are informed by the assemblage of molecular parameters. These parameters create an imaging of a world out of synch, representing life through simple stories of people, 'real...right...and true'.