After establishing a distinction between the types of surveillance cameras in existence in chapter one, I identified the continuities between these cameras and the original Panopticon in chapter two and examined the webcam's technical components that define it as a cinematic medium in chapter three. To examine the specific aspects of filmmaking with webcams further, I now turn to the analysis of the temporality of this medium by building upon the knowledge my experiments as an artist have originated. This combines information I have gathered from observation but have also acquired in dialogue with others when academic sources did not provide me with answers. In order to situate webcams within the context of preceding media, I will compare their simultaneous audiovisual capture and transmission with film and television production of content. To begin with the latter, television represents one particular medium that has altered notions of production and perception of cinematographic content before the age of webcams. Besides recycling ideas about the format, duration, acting style, and editing rhythm inherited from cinema, television marks the advent of a new form of viewing that was named “flow” by Raymond Williams in Television: Technology and Cultural Form (2003). This term encompasses the way in which programmes, advertisements, and intermissions are presented and viewed. As television programming is intertextual, so is its flow of 24/7, continuous sequences.