Surveillance, as a phenomenon, is connected to the power and control of the surveyor towards the surveyed subjects who suffer from isolation. According to this perspective, this paper strengthens the essence of surveillance in thriller films and explores the different panoptical forms. It represents each form according to its effect on the viewer’s engagement and embodiment by relating it to the logic of existence discussed by Merleau-Ponty. It also explores the form(s) that represent(s) the ‘docile-body-viewer’. The researchers find out that the ‘docile-body-viewer’ can be created by ‘sensorial transparency’ first, then by the ‘Labyrinth-like spaces’ depending on the way it is shot. The other panoptical forms discussed in this study show that the viewer suffers from anxiety, attention, shock and surprise while empathising and sympathising with the protagonist. In general, all these forms increase the embodiment of the viewer, her/his corporeality and consciousness. Finally, the paper shows how Foucault’s idea of the Heterotopia is very helpful to define surveillance as a situation that has the ability to increase the embodiment and body corporeality of the viewer.

监视作为一种现象，与调查员对遭受孤立的调查对象的权力和控制有关。本着这一视角，本文强化了惊悚片中监视的本质，探索了不同的全景形式。它通过将每种形式与梅洛-庞蒂所讨论的存在逻辑联系起来，根据其对观众的参与和体现的影响来代表每种形式。它还探索了代表“温顺身体观察者”的形式。研究人员发现，“温顺的身体观察者”可以首先通过“感官透明度”创建，然后根据拍摄方式通过“迷宫般的空间”创建。本研究中讨论的其他全景形式表明，观看者患有焦虑、注意力、震惊和惊喜，同时对主角产生同情和同情。总的来说，所有这些形式都增加了观众的体现，她/他的肉体和意识。最后，本文展示了福柯的异托邦思想如何非常有助于将监视定义为一种能够增加观看者的体现和身体肉体的情况。