This essay tries to reclaim the importance of the “moving image” for film studies and especially for the study of animation. Though the currently influential film theory of Giles Deleuze uses the concept of the “movement-image,” this must not be confused with the moving image, which I define as the actual mechanical creation of the appearance of the movement of people or things on which cinema and animation are both based. For Deleuze, the movement-image only enters into cinema when a higher level of integration is involved, primarily through the editing of shots. Although Deleuze criticizes philosopher Henri Bergson's seeming condemnation of the false movement of cinema, he nonetheless seems to endorse this negative assessment of the appearance of motion that the cinema manages. I trace Bergson's suspicion of cinematic motion to his deep aversion to the mechanical (as in his essay “On Laughter”). In contrast, I claim that cinema generally and animation specifically demonstrate a synthesis of mechanical apparatuses with human perception. Rather than limiting or destroying our sense of time and motion, the moving image expands it. I relate this to philosopher Gilbert Simondon's view of the human dimension of our interaction with machines.