Motifs of the sinister in Throne of Blood (Akira Kurosawa, 1957)
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Abstract
In this article we analyse textually some key sequences of Throne of Blood (Kumonosu-jō, Kurosawa, 1957), focusing on how the sinister gradually emerges in the story. With regard to the concept of the sinister, we follow both the theorisation proposed by Freud in his famous 1919 article ‘The Ominous’, and the later reading by Trías proposing some motifs of the sinister -which we will locate in the film-, as well as that of González Requena on the same subject. The question that will guide our analysis is whether the sinister arises or returns from the familiar as something repressed, as Freud (and Trías) points out, or whether, as González Requena affirms, the sinister is rather something rejected or refused. Is there in Trono de sangre a secret that needed to remain hidden in the soul of the protagonist and that would be revealed by the influence of the female spider? Or is it the hero himself who, misguided by his ambition, falls into the spider's web?
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