Foucault, in his seminal work Discipline and Punish: The Birth of the Prison (1975) discusses Bentham’s architectural design of the Panopticon as a means to exercise power and enforce discipline. He extends this metaphor to speak of Panopticism as a social phenomenon used to discipline work forces through covert strategies. Shoshana Zuboff, in In the Age of the Smart Machine: The Future of Work and Power (1988) contextualizes Foucault’s discussion in an age where the work culture uses Information Systems extensively for surveillance. She calls such a structure an “Information Panopticon”. This paper aims to bring out the various nuances of the Information Panopticon in Cameron and Colin Cairnes’ film Scare Campaign (2016) and how it facilitates the exercise of power. The paper firstly looks at Zuboff’s Information Panopticon in light of Foucault’s discussion before evaluating the Information Panopticon created in the film and its hierarchal structure. Next it endeavours to demonstrate how the Information Panopticon in the film is not solely reliant on literal visibility. It wraps up with a discussion on the relation between spatiality, visibility and power in the film’s Information Panopticon.

中文翻译：

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Panoptic Pranksters：恐慌运动中信息 Panopticon 的力量、空间和可见性

福柯在其开创性著作《纪律与惩罚：监狱的诞生》（1975 年）中讨论了边沁将全景监狱的建筑设计作为行使权力和执行纪律的一种手段。他扩展了这个比喻，将全景主义视为一种社会现象，用于通过隐蔽的策略来训练劳动力。Shoshana Zuboff 在《智能机器时代：工作与权力的未来》（1988 年）中将福柯在工作文化广泛使用信息系统进行监控的时代的讨论背景化。她将这种结构称为“信息全景视窗”。本文旨在揭示 Cameron 和 Colin Cairnes 的电影《恐慌运动》（2016 年）中信息全景式监狱的各种细微差别，以及它如何促进权力的行使。论文首先根据福柯的论述考察了祖博夫的信息全景视窗，然后对影片中创造的信息全景视窗及其层次结构进行了评价。 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 接下来，它努力展示电影中的信息全景图如何不仅仅依赖于字面的可见性。最后讨论了电影的信息全景视图中的空间性、可见性和权力之间的关系。