The paper examines the cinematic medium in general and digital cinema in particular from a philosophical perspective and asks how the portrayal of movement in cinema can shed light on the concept of life in a world where the lines between physical and virtual reality are blurred. As humanity becomes increasingly entwined with non-human entities, the significance of this issue is more pertinent than ever. At the onset of cinema's invention, Henri Bergson developed his ideas on movement and duration. Bergson connected cinema's capacity to animate still images to the failure of both natural perception and philosophical thinking to grasp life as a continuous process. Gilles Deleuze builds on Bergson's critique but, for him, cinema's portrayal of movement is precisely the means of successfully presenting life as a continuum. The paper further poses how the shift from analog to digital cinema has impacted the representation of movement on screen and its significance in comprehending the connection between humans and non-humans. By exploring examples from digital cinema, the paper shows how cinema can offer a unique space for contemporary viewers to encounter human life in both real and virtual dimensions. This space not only highlights the differences between humans and non-humans but also illustrates how they converge and diverge. Consequently, the paper underscores the potential of both cinema in general and digital cinema in particular to offer an alternative and more optimistic philosophical perspective on the relationship between humans and post-humans. Rather than focusing solely on their differences, this perspective recognizes the emergence of a mutual relationship between them. On this view, they move toward one another and even blend into each other.

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