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Abstract: The 1980s marked a turning point in French film theory. Jacques Aumont conceives cinema asan art of moving images. In the 1990s, he articulated a manifesto for image studies, rejecting content-basedanalysis and the application of pre-established theoretical frameworks. Instead, he argues that analysis shouldfocus on the image itself, advocating concrete analysis and an internalist approach. This methodological shiftplayed a decisive role in the rise of image-centered aesthetic research. Aumont broke away from the mimeticparadigm by defining images as "objects produced by socially constituted human beings, which are referentialand exchangeable. As a semiotic system, the image generates meaning and thought. Film analysis, therefore,should address the essential level of the imagenamely, the problem of expression and its internal operationalmechanisms. By placing the image at the core of film analysis, Aumont returned to the aesthetic reflection onsensation, thereby constructing a knowledge system of cinema and cinematicity through image analysis. Thisapproach represents an ontological mode of film studies and delineates a pathway from sensibility to rationality.

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