Starting with “the device used to obtain and visualise cinephotographic evidence” (cinema), invented by the brothers Lumiere, the technique of filming and reproducing moving images has rhythmically evolve, shortening the distance between reality and the illustrious reality. Man’s perception of the moving images, of filmic time and space represents a psychic process, a product of the senses and of thought. The innovative filmmakers, creators of film art, exploited the illusional effects of the dynamic images and developed the grammatical rigours of the filmic language. The digital techniques facilitate the development of the filmic expression, but the syntax of the filmic language is managed by the same laws as in the case of the mechanical film, since they ensure emotional comfort and the overwhelming thinking that the individual wants.