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Extra info for De Hitchcock a Tarantino Enciclopedia De 'Neo Noir' Norteamericano

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Normalmente eran films de aventuras o espionaje casi siempre De Hitchcock a Tarantino. Enciclopedia del Neo Noir norteamericano. rodados en estudio. Era lógico que con el empequeñecimiento del mundo por los avances científicos y tecnológicos, e igual que todos los géneros, el cine criminal universalizase sus escenarios hasta llegar a cualquier rincón del planeta, lo cual por otra parte aumentaba sus mercados. Una de las premisas obligatorias de la serie británica de James Bond eran precisamente los escenarios exóticos, rodados in situ, tendencia seguida muy pronto por una gran parte de los film s del género.

Protagonizaron infinidad de violentos exploitation movies, añadieron toques racistas a un musical (West Side Story, 1961) o adquirieron caracteres simbólicos en I Was a Teenage Werefolf (1957, Roger Corman), en que se mostraba metafóricamente cómo los delincuentes juveniles se convierten en monstruos. Films como The Young Savages (1961), La naranja mecánica (1971), The Warriors (1979), Rebeldes (1982) o La ley de la calle (1982) crearon diferentes modelos de un tema que cada vez tiene mayor presencia –como parte central o secundaria– y cuyas derivaciones críticas vienen oscurecidas normalmente por una violencia siempre más explícita.

Si una tercera persona coloca la bomba, sin que ninguno de los dos interlocutores se dé cuenta y el público sí, se trata de una situación de suspense. Resulta aventurado catalogar un film como de suspense (como si fuese un género) ya que, normalmente, éste puede aparecer únicamente en algunos momentos y casi nunca es su razón de ser. Terrorismo Antes de los 70, el terrorista no era precisamente un personaje ligado al cine criminal y raramente era el enemigo único, sino que incluso se le glorificaba y se le comprendía.

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