Having separated into two blocks the only four thrillers directed by Kurosawa, the author analyses the first two titles (from the forties), indicating their connections with the American film noir and, from the sociological point of view, with Italian neo-realism. The second part of the study analyses the two movies in this genre made in the sixties, indicating the elements -mainly ambiguity- linking the two previous thrillers while underlining their formal diferences with the visual expressinism of film noir.
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