 The two-stage process of digital projection, whereby each image in a static sequence is generated by flashing light and the impression of a moving image is then generated by the rapid execution of the sequence, draws attention to the metaphysical complexity of the question of how movies move. In particular, one is unlikely to determine the status of the impression of motion that makes possible the art of cinema unless one can determine the status of the imagery that is seen to move. Given that motion involves an object occupying contiguous spatial locations in successive moments of time, a moving object must be re-identifiable over time. A moving image in a film, arising as it does out of the rapid display of a succession of still images, is not obviously a persistent object that can be seen to move. Then again, perhaps it is enough that ordinary viewers identify an image—say of a moving train— as the same image, for the moving image to persist (Currie 1996). Alternatively, the moving image could be thought to persist as a second-order physical entity constituted by a sequence of flashing light (Ponech 2006).