Intermediality and uncanniness in Tsukamoto Shinya's Tetsuo: The Iron Man (1989)

What is it about?

This publication examines the film aesthetics of Tsukamoto Shinya's Japanese cult classic Tetsuo: The Iron Man (1989) and how it fuses the signifiers of different moving and still image media, such as photography, chronophotography, animation, television and video games.

Featured Image

Why is it important?

Discussion around Tsukamoto Shinya's Tetsuo: The Iron Man (1989) often centres on its intertextual relations with other films. This publication focuses on the film's intermedial qualities. This approach not only lends additional nuance to the pre-existing intertextual discussion, but opens up a new discussion regarding the presence of uncanniness during instances of fusing the aesthetics of different media.