Nicholas Owens/Booksmuggler Portfolio

Deleuze, like Bergson, identifies the movement-image and ‘flowing-matter’. All cinematic images are movement-images. Images move within and between the frame, via the camera’s motion and the rhythm of editing. Frames move on the screen via the projector and its flickering movements of light. The viewer’s eyes move in the phi-phenomenon as mobile machines that modify and reflect the film’s movement-images. The human ‘living image’ turns virtual movement-images into actual, intensive movements.