I see that while I was typing this others have replied so much of this may be redundant!
This is a very interesting subject and one worth spending some time experimenting with - that is if you have the manual control of video shutter speed available to you!
Frame rate (aka fps) is the number of
complete image frames recorded in a second. More on that 'complete' emphasis in a moment. Normal frame rates are 24 fps for film/film-like/cinema; 25 fps for European video & television; 30 fps for NTSC/N.American video & TV; 60 fps for high end cinema. Note that these speeds assume that the frame rate used in recording will be the same as the frame rate used for presentation & screening. Naturally any difference in the recorded and presented frame rates will result in the perception of slow-motion or speeded up motion. The old technology of recording 'interlaced' images resulted in recording 2 fields per frame or 60 fields per second. Old silent films often used 18 frames per second which when played back at 24 fps gave the characteristic Charlie Chaplin speeded up motion.
The adoption of 24 frames per second as a standard was really the result of experimentation with how the brain interpreted the series of still images shown as 'motion'. Much slower looked jerky and artificial and a faster frame rate used more expensive film which obviously the film studios did not like! It was the result of perception vs. Economy
Older mechanical cinema shutters basically used a rotating shutter. 180 degrees was shutter open and 180 degrees was shutter closed and also allowed a fresh unexposed frame of film to be moved into the 'gate'. So if the shutter had to rotate 24 times a second, that gave an effective shutter speed of 1/48. In the fifty plus years of film-making and watching, 1/48 of a second with it's accompanying blur of motion became the accepted way of seeing motion in a projected image.
Cameras came out with adjustable angle shutters to effectively give control of the shutter speed within a limited range but too small an angle and the resulting faster shutter speed made the film look jerky. A longer shutter speed and the motion blur was too blurry. So 1/48 became what is now termed the 'film-look. Only under unusual circumstances then was the shutter speed and frame rate changed.
One of those 'unusual circumstances' was and remains, motion in a high contrast scene - imagine a black car traveling across a white background. In this circumstance the brain is subject to an unpleasant latent image which can result in the perception of strobing. Cinematographers have a few choices: speed the car up so that it is really just a blur in each frame; reduce the contrast or reduce the shutter speed so that there is more motion blur. Whatever choice is made to try and get rid of the problem, only if the effective contrast is lowered will the scene be acceptable to the viewer.