As such, the “technological promise to capture time” opened the cinema to confront all sorts of social and natural limits, from “the denial of the radical finitude of the human body” to the “access to other temporalities.” In collusion with capitalism’s ideological fetish for progress and infinite growth, the emergence of cinema was accompanied with stories and fables that would introduce and legitimize “the recognizable tropes of orientalism, racism, and imperialism essential to the nineteenth-century colonialist imperative to conquer other times, other spaces.”