Ballet Mécanique

Fernand Legers Ballet Mechanique is certainly a modern (cubistic) approach to filmmaking. All the objects appear in from of the camera are associated with others. Repetitions of images are frequented with one exception of the image of a parrot. All the other footage seems to be repeated, at least twice. The parrot, however, only appears once, as if to make fun of other signs, which are all so repetitive. Leger is intrigued by the close-up representation of everyday objects in motion. Using this new plastic media, he is to explore the art of space, juxtaposition, and time.

Leger overtly uses kaleidoscope-like images with objects at the center. Instead of showing the several same images onto a two-dimensional plane, triangle frames show the objects from different perspectives and angles just like Cubist paintings. Especially when the object is human, there usually appears another frame within the frame (Kiki holding a paper with holes, for example), which emphasizes the multiple dimensionalities of subjects.

The objects mainly from kitchen and machinery images have to do with the arriving of the machine age, when he actually lived. The interesting thing is that those images carry some erotic feelings with them.

Take a scene of a pumping piston for example. Instead of making us hear the sound of metals bumping each other, the image creates an illusion of human legs sexually engaged. The rotating movement of mixers looks as if some figures are making out,

This sexual tone is created not only by images themselves, but also by rapid montage of close-ups. Although each cut is quite brief, the images are repeated, which makes the viewer to pay attention to details without losing the freshness and eroticism of everyday objects in a different context.

Another thing that these repetitive footages do is to create a rhythm; therefore it is dealing with time. The scene where a washwoman is shot climbing up the stairs challenges the viewers' duration, and it also conveys incompleteness of the action, because she never reaches the top.

Most of the images Leger uses in this film is shot in close-ups and repeated as I have mentioned, which shows his keen interest in juxtapositions of everyday objects and machine. Close-ups are often used to portray human conditions and the visual messages tend to reach the audience quite directly. He creates his unique voice by portraying machines and objects mainly, and goes on to associate with human condition.


				*experimental cinema* *Ballet Mécanique*



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		*Ballet Mécanique (1924)* Dir: Fernand Leger Dudly Murphy DP: Dudly Murphy



		Fernand Legers Ballet Mechanique is certainly a modern (cubistic) approach to filmmaking. All the objects appear in from of the camera are associated with others. Repetitions of images are frequented with one exception of the image of a parrot. All the other footage seems to be repeated, at least twice. The parrot, however, only appears once, as if to make fun of other signs, which are all so repetitive. Leger is intrigued by the close-up representation of everyday objects in motion. Using this new plastic media, he is to explore the art of space, juxtaposition, and time. Leger overtly uses kaleidoscope-like images with objects at the center. Instead of showing the several same images onto a two-dimensional plane, triangle frames show the objects from different perspectives and angles just like Cubist paintings. Especially when the object is human, there usually appears another frame within the frame (Kiki holding a paper with holes, for example), which emphasizes the multiple dimensionalities of subjects. The objects mainly from kitchen and machinery images have to do with the arriving of the machine age, when he actually lived. The interesting thing is that those images carry some erotic feelings with them. Take a scene of a pumping piston for example. Instead of making us hear the sound of metals bumping each other, the image creates an illusion of human legs sexually engaged. The rotating movement of mixers looks as if some figures are making out, This sexual tone is created not only by images themselves, but also by rapid montage of close-ups. Although each cut is quite brief, the images are repeated, which makes the viewer to pay attention to details without losing the freshness and eroticism of everyday objects in a different context. Another thing that these repetitive footages do is to create a rhythm; therefore it is dealing with time. The scene where a washwoman is shot climbing up the stairs challenges the viewers' duration, and it also conveys incompleteness of the action, because she never reaches the top. Most of the images Leger uses in this film is shot in close-ups and repeated as I have mentioned, which shows his keen interest in juxtapositions of everyday objects and machine. Close-ups are often used to portray human conditions and the visual messages tend to reach the audience quite directly. He creates his unique voice by portraying machines and objects mainly, and goes on to associate with human condition.