Overcoming the limitations of human perception through cinematic prosthetic technology

in the late nineteenth and early twentieth centuries, human life was intertwined with machines and technologies in the modern metropolis due to technological advances and changes brought about by industrialization processes. Modern machine-technological culture transformed the traditional understanding of the human body and its perceptual and physical capacities, created a kind of interplay between the body and technology, and blurred the boundaries between the organic and the technological. Emerging concepts such as "technological perception" and "machine aesthetics" can be mentioned during this period. The present study, conducted in a descriptive-analytical Method using library resources, seeks to explore the emergence of cinema technology in relation to this historical turn, and in the relationship created between bodies and technologies in cinema. To study the era of modernity. From this point of view, the concept of cinema-eye put forward by Dziga Vertov as one of the most important crystallizations of this view, is analyzed and re-examined. In his writings, and especially in this statement, Vertov repeatedly points to the mixing between the human body and the machine, between the human eye and the technological eye of the camera, which overcomes the limitations of incomplete human understanding. Cinema combines the eye of physical-sensory perception with industrial perception, and the result of this fusion leads to a "new perception of the world", a perception that goes beyond the rules of human perception.