This research explores the creative processes and perception of time in animation, focusing on the importance of temporal representation in animated works. Based on Deleuzian concepts developed in The Time-Image and on notions derived from them in contemporary studies of cinematographic time, this work sets out the hypothesis that the practice of animation, which involves a reflection on time, induces a different temporality from that of live-action films, which address the same concerns. Starting from the practice of animators, this research is based on several questions specific to animation in order to identify its temporal singularities:

• The double temporality of movement in animation,

• The transition from stillness to animation is a constant repetition of the invention of cinema,

• Time is a malleable material that animators are constantly manipulating,

• Duration is perceived and felt differently in animation compare to live action,

• The aesthetics of the (photo)graphic trace is an accepted mark of the creative act and an imprint of the time and the animation director's memory.

To stimulate the research, the various points raised above will focus on different techniques and works that illustrate these specific features of animation, for example time-lapse and onion-skin, as well as the work of artists such as Stan Brakhage, Emily Richardson, Martin Arnold, Mariam Kapanadze and William Kentridge.

Finally, this research advocates a political and ethical approach to the slow artistic process in animation, as opposed to the acceleration and standardisation of creation, particularly linked to certain technologies. It goes hand in hand with a reflection on the ethics of technical tools and means of production, diverted from their original effectiveness, and considering what they could bring to long-term practice.