Nothing is changed but the temporal form; and in going over from the sharp image to the blurring one, nothing is changed but a certain spatial form: the content remains the same.
As soon as we give any interest to this formal aspect of the presentation, we must recognize that the photoplaywright has here possibilities to which nothing corresponds in the world of the stage.
Take the case that we want to produce an effect of trembling.

We might use the pictures as the camera has taken them, sixteen in a second.

But in reproducing them on the screen we change their order.

After giving the first four pictures we go back to picture 3, then give 4, 5, 6, and return to 5, then 6, 7, 8, and go back to 7, and so on.

Any other rhythm, of course, is equally possible.