This study analyzes the cinematic apparatus as a surveillance technology and examines its role in shaping, reproducing, and critiquing power relations in modern societies. Drawing inspiration from Michel Foucault’s theories, particularly the concept of the “panopticon,” and employing a deconstructive methodology, the research reveals the surveillance nature of cinema’s classic aesthetic structure by investigating the positioning of the camera, editing techniques, viewer-screen relationships, and producer-audience dynamics. The findings indicate that cinema has been aligned with modern surveillance paradigms from its inception, transforming surveillance from a threatening phenomenon into a consumerist experience by offering visual enjoyment and fulfilling the audience’s voyeuristic desires. Conversely, a self-aware form of cinema, referred to as “surveillance cinema,” critiques various dimensions of surveillance in modern societies by utilizing cinema’s inherent surveillance structure. The study demonstrates an interactive relationship between cinema and modern surveillance technologies, where cinematic language has inspired the design of surveillance technologies, while, advancements in these technologies have, in turn, influenced the development of new genres and the complex representation of surveillance in cinema. The presented analyses not only elucidate the connection between cinema and surveillance but also underscore the significance of widespread cinematic experiences among the masses in normalizing and accepting surveillance in modern societies. On the other hand, the potential of cinema to critique and expose the social, psychological, and political consequences of surveillance is also addressed. Finally, the study suggests a future research focus on analyzing how Iranian cinema portrays prevalent surveillance within its social context.