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When we think about cyberpunk as a genre, the idea of ‘punk’ often becomes deeply subservient to the idea of ‘cyber’. While movies like Blade Runner and Akira present a host of counter-culture ideologies and expressions of technological innovation, what captivates us most is a vision of a humanity entirely consumed by computer integration. We dream of (or fear) a world where our virtual life is lived in direct parallel to our physical existence; where our work, play, and passion is as tied to our avatar selves in cyberspace as it is to our bodies in the real world.
More in sync with David Cronnenberg and the “New Flesh” than William Gibson’s posthumanism, Shinya Tsukamoto’s vision of human-and-technology-integrating-as-one very much places ‘punk’ at the forefront of the cyberpunk experience. Nowhere does he make that more clear than his grinding, gruesome masterpiece Tetsuo: The Iron Man—a nasty hedonistic expression of the fear of man’s increasing integration with an ever more tech-focused world.
The movie is accompanied by a pulse pounding score from Japanese industrial music icon Chu Ishikawa. A complete audio-visual trip on every level.
This collection also included Tetsuo II: The Body Hammer, the Adventure of Denchu-Kozo, highly regarded cult classics Tokyo Fist and Bullet Ballet, A Snake of June, Vital, Haze, Kotoko, and Killing.
Special Features (via arrowvideo.com)
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