This success in turn led to a vogue in America and the West for Japanese movies throughout the 1950s, replacing the enthusiasm for Italian neorealist cinema. By the end of 1952 "Rashomon" was released in Japan, the United States, and most of Europe. Among the Japanese filmmakers whose work, as a result, began to win festival prizes and commercial release in the West were Kenji Mizoguchi ("The Life of Oharu", "Ugetsu", "Sansho the Bailiff") and, somewhat later, Yasujirō Ozu ("Tokyo Story", "An Autumn Afternoon")—artists highly respected in Japan but, before this period, almost totally unknown in the West. Kurosawa's growing reputation among Western audiences in the 1950s would make Western audiences more sympathetic to the reception of later generations of Japanese filmmakers ranging from Kon Ichikawa, Masaki Kobayashi, Nagisa Oshima and Shohei Imamura to Juzo Itami, Takeshi Kitano and Takashi Miike.