Art critic and researcher Santa-Cruz explores the technological transformations (digital emergence, among others) that the cinematographic image has suffered since the early 1980's, the theory problems that have resulted and the questions generated by an important corpus of films and audiovisual projects of how to resolve the transfer between modern cinema and contemporary movies. That is how Gilles Deleuze's movement-image and time-image concepts have structured in the present study a reflection that offers a new light into the processes and proceedings taken on the image and where the operations and forms of cinematographic construction fit.