影像一直是纏祟德勒茲哲學的重要概念。從《尼采與哲學》（1962）開始，經《差異與重複》（1968）與《意義的邏輯》（1969），影像或思想影像具現了德勒茲嚴厲批判的教條思想，也是一切再現體制或同一性思想的代表。然而，在當前這個各式影像大行其道的時代裡，作為一種以差異為基調的哲學如何正面與肯定地構思影像，對德勒茲而言似乎已是一個避無可避的重要問題。
於是在《運動-影像》（1983）與《時間-影像》（1985）中，德勒茲從事了一個形上學的翻轉，構思與創造了影像的肯定概念，本文便企圖探討德勒茲哲學中的這個遽烈的轉向，呈現影像如何由一個絕對否定的再現概念被重新構思為充滿流變力量的獨特場域。換言之，影像的問題性如何由負面到零度，再到正面的關鍵過程。當然，德勒茲關於影像概念的構思深受柏格森《物質與記憶》的啟，而整個嶄新影像概念所引以為據的，則是長達百年的電影史。
本文集中地分析了影像概念的個零度如何成為可能，以作為未來進一步探究德勒茲影像論的基礎。

　　　　　Image was always an important concept which haunted Deleuze in his philosophy. Since"Nietzsche and Philosophy"(1962) until"Difference and
Repetition"(1968) and"The Logic of Sense"(1969), the image or the image of thinking incarnates the dogmatism which Deleuze criticized severely; furthermore, it also stands for all kinds of representational regimes or identical thinking. However, in this age when all sorts of images prevail, it seems an inevitable for Deleuze to confront image and conceive it positively in his philosophy based upon difference. Therefore, in Movement-Image (1983) and Time-Image (1985), Deleuze made a metaphysic turn, in conceiving and creating a positive concept of image. This paper attempts to discuss on this drastic turn in Deleuze's philosophy, to present how image, at first an absolutely negative representational concept, was reconceived as a particular field filled with the force of becoming (devenir). In other terms, this paper concerns the crucial procedure in which the problematique of image is transformed-from negativentess, to zero, and then to positiveness. Of course, the conception of Deleuze on image was deeply inspired by Bergson's Material and Memory. Besides, the whole of this new conception of image was based on the hundred-year history of cinema. This paper focuses on analyzing how the zeroness of image became possible. We hope that this analysis will become a foundation of future advanced explorations of Deleuze's image theory.