A useful conceptual and methodological precision about what we should understand by the historicity of cinema serves as a doorway to the author´s reflection on the historical references which can be traced in Kurosawa´s films. Following a chronological order, the article concentrates on underlining the moral rather than socio-political dimension, which hovers over the filmmaker´s filmography while underlining its evolution from the more or less camoufalged militarism of some of his first films until his concerns for the reconstruction of Japan following its defeat (in his postwar movies) or for the consequences of the modernization of the country (in his last films). A last section indicates the more intimate nature of what could be called his testamentary films: Dreams and Not Yet.
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