In retrospect of the scandal caused by the first performance of PEEPING TOM in 1960, the "project" of Michael Powell's prototypal serial killer is analysed from a media theoretical viewpoint. Mark Lewis kills women, because he wants to see their horriffied expression in the moment of death and capture it on celluloid, employing an apparatus made of camera, stiletto and concave mirror. What exactly does Lewis want to spot in his victims' eyes? And how would that involve the issue of (...) voyeurism at the cinema? (shrink)