The main purpose of this essay is to analyse the differences between the still and the moving images within film and how these differences appear to us as an audience during projection. The center of attention throughout this discussion is the frozen image, the freeze frame. This frozen image is created when a single frame is copied and repeated over and over again. During projection this renders a single image, which to us as an audience appears as though complitely stripped of all movement. The frozen image appears motionless but is however usually not without tension. This tension is partly derived from mainly three different factors. Firstly, much so like the snapshot the frozen filmimage is a still image of objects in motion, no matter how small the movements of each object may be. A frozen image may appear as an image were all movement has been abruptly halted rather than an image of objects at rest. Secondly the tension comes from the fact that we as an audience expect movement from the image in film. Thirdly the frozen image in film is usually used within a context of images that appear to us as though set in motion. The frozen image also brings out an inherent ambiguity within the filmic image because the frozen image halts the movements within the image without revealing the movents or actions to come. To some extent the frozen image may also in much the same fashion halt the storytime within a narrative film. However frozen images may also contrary to this cause the ticking of the story clock in tehe same fashion as the moving image, because of the fact that the frozen image is never completely isoltated. It always appears within a context in which it stands in relation to other images, however frozen or moving. In narrative cinema both image and sound come together to tell a story and though the images are halted during the frozen image the soundtrack is usually not so. The passing of storytime during the frozen image within a narrative film is therefor somewhat ambiguous.