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Animating the Image: Patch Work and Video Interactivity

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Abstract

This chapter charts the relation between the elliptical visual style of Tsukamoto Shinya’s early films, in particular Tetsuo: the Iron Man, and the economic shortcuts of low-budget animation, which compress spatial and temporal coordinates in the frame instead of aiming for seamless continuity. Lee highlights how Tetsuo transforms these anime techniques into a live-action display of discontinuity that harnesses the interval between frames to connect cinema to then-new video and interactive technologies. It points to the importance of this strategy for invigorating the flagging industry in the late 1980s and early 1990s: by mobilizing the aesthetics of popular media to generate a low-budget, sensorial style, Tetsuo confirmed the viability, both domestically and internationally, of a visceral film practice that privileged sensation over narrative.

Keywords

Tetsuo animeAnime animationAnimation mangaManga Metal Fetishist 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Copyright information

© The Author(s) 2017

Authors and Affiliations

  1. 1.Department of Modern Languages and LinguisticsFlorida State UniversityTallahasseeUSA

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