  This Cinematic form of realism does not feature prominently in the literature – it was not encountered at all in the course of our brief historical survey – and with good reason: we shall see shortly that it is vulnerable to serious objections. But it nonetheless has sufficient intuitive appeal to be worth considering. By accepting that motion and change feature in our immediate experience the doctrine has the merit of taking the phenomenological data at face value. It also combines a quite natural way of conceiving of the temporal structure of consciousness – i.e., as confined to the momentary present – with an equally natural view as to the kind of content the resulting momentary episodes of experiencing could have. A camera with a fast shutter-speed (e.g., 1/10,000 of a second) will ‘freeze’ all but the fastest of motions: the facial expression of victorious sprinter at the precise moment they crossed the line can thus be revealed. If our consciousness takes the form of a series of momentary (or extremely brief) ‘exposures’, won’t the contents of our consciousness be similarly static or frozen? As an additional bonus the Cinematic realist can easily explain at least one aspect of the continuity of consciousness. If a stream of consciousness is composed of a gap-free sequence (or continuum) of momentary (or extremely brief) states, it is not surprising that we can be continually aware for hours at a stretch. The Modest Continuity Thesis (§3) is thus easily accommodated.