In their efforts to define the true nature of film and thus give it the status of a new art, some of the earliest film theoreticians, especially French impressionist authors, have identified image, movement and time as the basic properties of film. Canudo (1911, p. 170) describes film as “a painting and a sculpture developing in time”, Dulac (1925/2018) and Aragon (1918/1993) find its essence in movement and light, and Epstein (1924a, 1924b) defines photogénie (according to the Impressionists, the most specific aspect of the film image) in terms of movement extending in both time and space. Wees (1992, p. 3) defines film as “light moving in time” and points to the fact that light, movement and time are also the basic requirements for seeing. Deleuze (1983/1986, 1985/1989) in his insightful philosophical study of film uses the same properties to divide the history of film into two parts: the movement-image and the time-image. In film image, movement and time are mutually dependent and inseparable. Image is what establishes the space of a frame but only images that have duration and manifest change or motion can create filmic space.

中文翻译：

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电影中的时间隐喻：理解电影中的时间表征

一些最早的电影理论家，尤其是法国印象派作家，在努力定义电影的真实本质，从而赋予电影新艺术的地位时，已经将图像、运动和时间确定为电影的基本属性。Canudo (1911, p. 170) 将电影描述为“随时间发展的绘画和雕塑”，Dulac (1925/2018) 和 Aragon (1918/1993) 在运动和光线中找到了它的本质，而 Epstein (1924a, 1924b)定义photogénie（根据印象派，电影形象的最具体方面）在时间和空间上延伸的运动方面。Wees (1992, p. 3) 将电影定义为“在时间中移动的光”，并指出光、运动和时间也是观看的基本要求。德勒兹（1983/1986, 1985/1989）在他对电影的深刻哲学研究中，使用相同的属性将电影史分为两部分：运动图像和时间图像。在电影影像中，运动与时间是相互依存、不可分割的。图像是建立框架空间的东西，但只有具有持续时间和明显变化或运动的图像才能创造电影空间。