This article addresses the definition of cinema by focusing on the related ontological question of which basic category circumscribes cinematic works. According to Noël Carroll, the definition of cinema consists both of ontological conditions that treat the moving image as a type and of other conditions that treat it as a display. But following Carroll’s ontological conditions, the digital encoding of a moving image enigmatically ends up being both a type and a token. Solving such a puzzle by clarifying the relation between the cinematic type and the digital type leads us to define the moving image in general as a type that specifies a spatiotemporal distribution of pixels.
How to Cite:
Terrone, Enrico. “The Digital Secret of the Moving Image”. Estetika: The Central European Journal of Aesthetics 51, no. 1 (2014): 21–41. DOI: http://doi.org/10.33134/eeja.114