Abstract Operating self-sufficiently on the fringes of the Japanese film industry for almost his entire career, the work of independent filmmaker Tsukamoto Shinya1 is perhaps best-known for its uncompromising, musical freneticism, as well as its corporeal spectacle. However, Tsukamoto’s dynamic clashing of visual media signifiers, such as those of theatre and television (industries within which he also operated prior to his film career during the 1980s), and how these impact upon his reflexive cinematic style, has yet to be fully considered. Drawing on Laura Mulvey’s conception of the ‘uncanny’ in response to cinema’s potential to confuse animate and inanimate, as well as Tsukamoto’s own under-discussed background in experimental street theatre and television advertising production, this essay seeks to examine Tsukamoto’s unique method of stop motion photography within his signature, self-produced feature Tetsuo: The Iron Man (1989). The intention is to show that these hyperbolic sequences instil not only an uncanniness in their live-action subjects, who are rendered inanimate then reanimated to form staccato, cyborg characters, but also a ‘medial uncanny’ that simultaneously emulates and subverts the qualities of a vast range of visual media, particularly television and its associated post-medial peripherals and artefacts.

中文翻译：

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媒体变态。冢本晋也的《铁男：铁人》（1989）中的中间性，（重新）动画和中间怪异

摘要独立电影制片人冢本晋也1的工作几乎在整个日本电影界都可以自给自足，也许以其不屈不挠的音乐狂热态度和随和的景象而闻名。然而，冢本对戏剧和电视等视觉媒体标志符的动态冲突（在1980年代他也曾从事电影业之前从事过的行业）以及这些影响如何影响他的反身电影风格尚待充分考虑。 。借鉴劳拉·穆维（Laura Mulvey）的“怪异”概念，以回应电影院混淆动画和无生命的潜力，以及冢本本人在实验性街头剧院和电视广告制作中讨论不足的背景，本文试图在冢本的签名和自拍作品《铁男：铁人》（1989年）中探讨其独特的定格摄影方法。目的是要表明这些双曲序列不仅会给他们的真人受试者灌输无用感，使他们变得无生命，然后复活以形成断音，半机械人的性格，而且还表现出一种“中间的怪异”，同时模仿和颠覆了人的特质。广泛的视觉媒体，尤其是电视及其相关的后媒体外围设备和人工制品。