Using the concept of panopticon as distopic image in science fiction cinema

Surveillance covers the practices that have been applied on societies with dif-ferent methods for centuries. The main purpose of these experiences comes from the current authority's drive to control society. The opportunities provided by the deve-loping technology have made this desire even stronger. Jeremy Bentham, who managed to become one of the leading thinkers of the eighteenth century with his important ideas in the pursuit of happiness, has signed a project that has made a name for itself with a project that will change and shape the understanding of surveillance of the period and even later periods. This project also attracted the attention of Foucault, one of the important thinkers of the twentieth cen-tury. Because Foucault thinks that the prison project, called the Panopticon, is not just a building, but a manipulation-laden mechanism infecting the prisoners' thought system. The main reason that makes the Panopticon the focal point in Foucault's works comes from the fact that the Panopticon provides a holistic view to the sub-jects. Thus, the Panopticon ensures that individuals are strictly controlled by the so-vereign power without being based on oppression and violence. Surveillance has become an inevitable theme for the twentieth century inven-tion, cinema, with its appearance in interdisciplinary studies. The theme of surveil-lance, which takes place especially in dystopian movies of science fiction cinema, is handled within the framework of totalitarian management, obedient bodies and cont-rol networks. Contrary to utopias, it reveals the world that criticizes the evil aspects of the current order and reveals the codes of power. For this reason, the surveillance networks of the dominant power are also included in dystopian films. Panoptic surveillance imagined in the dystopian universe points to discipli-nary power and individuals who submit to authority. At the same time, there are cha-racters who resist the panoptic system within the existing order. At this point, the panoptic system will be analyzed in the films selected through Foucault's subject-power relations.