If one considers the theoretical works on cinema in Turkey, it is possible to assert that the conceptual approach of Deleuze, who is one of the prominent thinkers of the 20th century, with regards to cinema has not considerably been discussed. Instead of praising this theoretical approach, with the aim of becoming an introductory piece, this paper will present a general outline of the major cinematographic concepts of Deleuze. Deleuze considers cinema as an act of creation and in this context he constructs the link between cinema and thought. Following the commensurable relation of philosophy, which functions by creating concepts, with cinema, which produces thoughts, affects and actions, Deleuze gives particular importance to cinema about it's function of creating an order out of chaos. In this context, this paper will be developed around the concepts of 'the movement-image' and 'the time-image'. In the research, which uses the method of literature review and content analysis, the fundamental axis of the discussion will be constructed on the ability of reading the relation of the movement-image and the time-image. Thinking cinematographically transcends the aspects of information and entertainment in communication. In this way, it contributes to the discussion about the act of creativity and it asks how difference can be possible. While cinematographic thought acts together with predetermined and given elements, it is also an evidence of how they can be transcended. From this perspective, thinking cinematographically presents the mentality of reconstructing and reproducing constantly in processes.