[EN] In the American Film Noir from the classic period (1930-1960), it is possible to perceive the influence of psychoanalytical culture and of Freud s most widely read works. The theory of drives involves the consideration of the perpetrator of criminal activity as a sick person. This is reflected in the films, where morals are relegated to a secondary plane. The importance of sexuality is reflected in the figure ofthe femme fatale and in behaviours in which the principle of pleasure overarches that of reality. The conscious/unconscious duality and the place of dreams in psychoanalysis are the cornerstones of films addressing the split personality and nightmares that plague essentially decentpeople. The solution to certain criminal conflicts is not found through police work but through medicine: in such situations the therapist manages to solve the problem of the delinquent behaviour born of sick minds.

[ES] En el cine negro norteamericano de la ?poca cl?sica (1930-1960) se percibe la influencia de la cultura psicoanal?tica y de la divulgaci?n de las obras m?s conocidas de Freud. La teor?a de los impulsos conlleva la consideraci?n como enfermo del protagonista de comportamientos criminales, de lo que toman nota las pel?culas en las que la moral queda relegada a un segundo plano. La importancia de la sexualidad aparece reflejada en la figura de la femme fatal y en conductas donde el principio de placer doblega al de realidad. La dualidad consciente/ subconsciente y el lugar de los sue?os en el psicoan?lisis est?n en la base de obras sobre la doble personalidad y sobre pesadillas que amenazan a personas honradas. La soluci?n a ciertos conflictos criminales no es policial, sino m?dica: en ellos un terapeuta logra resolver comportamientosdelictivos fruto de mentes enfermas.