Abstract
How can something that could simply be a technique become an instrument for telling stories and stimulating dreams? Setting out from this question, the article explores the directions taken by the projection of moving images until arriving at what we call cinema. Through authors like Edgar Morin, Arlindo Machado and Noel Burch, it investigates this transition, mapping its intrinsic relationship to the nascent urban capitalist modernity and the emergence of new forms of social representation that meet the expectations of the bourgeois class.
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