'As Elie During and others have shown, the cinematograph as Bergson characterized it was in many respects an idealised device rather than an analogy with the tool as it existed in practice. Bergson’s cinematograph was an epistemic device that incorporated such as-yet unusual features as full automation (and with it absolute constancy of temporal progression), and ignored the phenomena of ‘persistence of vision’ that, as this article will further highlight, was fundamental to the development of the (quite different) devices after which it was named (During 2015; Tortajada 2011; Douglass 1999).'