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Abstract: Through a qualitative and comparative analysis, this research investigates five case studies
across different media: Kieślowski’s Dekalog VI (cinema), Titian’s Venus of Urbino (painting), Rodin’s
The Kiss (sculpture), Helmut Newton’s photography, and Milo Manara’s comics. The study demonstrates
that voyeurism operates as a constant relational structure between observer and observed, while its
ethical and cultural implications vary depending on the medium and its dispositif. Drawing on theoretical
contributions from visual culture and media studies, particularly the concepts of threshold, immersion/
emersion, narrative positioning, spreadability and drillability, the article argues that voyeurism
functions as an independent variable shaping the spectator’s position within mediated environments.
In contemporary digital culture, where images circulate across platforms and audiences actively re-
appropriate and redistribute content, voyeuristic asymmetry may transform into participatory symmetry.