There are many experimental filmmakers and videoartists who are not so interested in the illusion of movement but, instead, in its manipulation and deconstruction. This is the paradox behind the chronophotographic experiments performed by Muybridge and by Marey (a paradox that cinema, very soon, tried to hide): not to accept the kinetic efect as a mode of representation but to take advantage of the chronophotographic mechanism -that made it possible- in order to produce a certain violence against the dominant forms. The negativity of this moment (in the adornian sense) is useful to reflect on the different modulations of time and movement in the art of last Century.
