Exploring animation as research creation, this project combines pixilation animation and analogue lenticular printing to explore how film can have a unique in-person viewing experience without screens. For artists working with the moving image as a medium, single-channel installation and projection have become the preferred modes of display. This project seeks to provide an untethered, re-materialized and immersive analogue viewing and making experience in an era of increasing digital interfaces. It reflectively analyzes the links between handmade art practices and the moving image. Personal experiences of time and memory will also be analyzed against the moving image and its mode of display. Although display formats of moving image work have long histories of change, the mode in which they are displayed and produced has largely remained tethered to screens or projections. Lenticulars are one technique I have used to explore this problem. Instead of screens and projections, they serve more as windows, windows into the wonder of discovery that pixilation has previously established in film. This paper questions expectations for experiences, especially pertaining to viewing moving image work in person. It questions people's engagement with moving image work and how this engagement might be made more inviting. It compares the modes in which we can transmit video and offers a contemplative proposal of a new life for the moving image. By using lenticular animation to bring the moving image into plastic practices, the thesis gives the moving image a unique container.