JAMMO ISSN 2146-3328

From the beginning of the 19th century onward, as the nature of representation began to be questioned, image took on a structure which does not reflect but hides reality. It also became an ambiguous and hazy area to grasp while acquiring new meanings and forms, as the viewer began to create his or her own visual experience (Crary 2010: 40-162). In this period when the reality of the world was no longer needed and the relativity of time was beginning to be debated, the realm of emotional perception and sensations became visible in the field of art. In modern painting and literature, with the choice of viewpoint, the objects intertwined and converged. This new perspective towards the objects was also discovered in cinema through close-ups (Bonitzer: 145-187). Fernand Léger's Ballet mécanique (1924) is an experimental film in which objects acquiring new meanings via many close-up views turn into abstract compositions. The film suggests a new form of visual perception through the rhythm of images.