The key to understanding Deleuze’s film classification theory is to comprehend his philosophy of differentiation. In the light of this philosophy, Deleuze classifies film images into two categories: motion images and time images. As the two set of images are placed in differentiated thinking, images appear to be realistic and objective on one hand, and potential and subjective on the other. Rightly in the sense of attending to the two conflicting sides Deleuze develops his unique film image classification system, according to which images are basically classified on the principles of time and space. Nevertheless, the highly abstract philosophical propositions are hard to be integrated into reallife film images, not to say conduct effect “management”. It is evident that Deleuze establishes his own film theory system by taking account of documentary aesthetics while considering philosophical images. In view of this, the relations of classification is in some sense the relation between documentary aesthetics and philosophy, and the transition between the two is the result of subtle coordination between observation (or interpretive description) and philosophical thinking.