ABSTRACT
This last part returns to a consideration of the problems connected with the digital turn. Here, the focus is initially on the perceptual characteristics of early cinema. As in Kinemacolor, the ‘defects’ – the trembling of the cinema image – are not overlooked as minor temporary technical problems, but as major specificities that came to define the medium. Traditional cinema is thus read as belonging to the episteme of the mechanical, where trembling is connected with machines, themselves always moving. ‘Digital cinema’, as a stable medium, thus appears as a result not only of a technological shift, but of an epistemological one.
