Abstract
The question of the limits of human perception is invoked by cinema: time is modulated on images, approaching of what we might call a new dimension of reality. At the early twentieth century, science changes the perceived reality through the lenses of microscopes and through theories of modern physics; the relationship between cinema and science seems most to be on exceeding the perceptive field and it is explored in this article show how the tension between the static nature of photography and the fugitive fluidity of time reveals science without its customary stereotypes.
keywords:
cinema; perception; science; modernity; photography
