73-473: The Collector is a 1963 thriller novel by English author John Fowles , in his literary debut. Its plot follows a lonely young man who kidnaps a female art student in London and holds her captive in the cellar of his rural farmhouse. Divided in two sections, the novel contains both the perspective of the captor, Frederick, and that of Miranda, the captive. The portion of the novel told from Miranda's perspective
146-557: A moral and a surprise ending . Master%E2%80%93slave dialectic The lord–bondsman dialectic (sometimes translated master–slave dialectic ) is a famous passage in Georg Wilhelm Friedrich Hegel 's The Phenomenology of Spirit . It is widely considered a key element in Hegel's philosophical system, and it has heavily influenced many subsequent philosophers. The passage describes, in narrative form,
219-404: A case of mistaken identity or wrongful accusation. Thrillers take place mostly in ordinary suburbs and cities, although sometimes they may take place wholly or partly in exotic settings such as foreign cities, deserts , polar regions, or the high seas . These usually tough, resourceful, but essentially ordinary heroes are pitted against villains determined to destroy them, their country, or
292-419: A character only while in captivity as another paradox in the novel: "Her growing up is finally futile; she learns the true meaning of existentialist choice when, in fact, she has very limited actual choice. And she learns to understand herself and her life when, in effect, that life has come to a standstill." Cooper, who interprets the novel as a critique of "masculine sexual idealization", notes another paradox in
365-431: A child's or adult's development, or self-consciousness coming to be in the beginning of human history or as that of a society or nation realizing freedom. That the lord–bondsman dialectic can be interpreted as an internal process occurring in one person or as an external process between two or more people is a result, in part, of the fact that Hegel asserts an "end to the antithesis of subject and object ". What occurs in
438-516: A distinct style in the 1800s and early 1900s with novels like The Count of Monte Cristo (1848) and The Thirty-Nine Steps (1915). The films of Alfred Hitchcock are critical in the development of the thriller film during the mid-20th century. Some popular 21st-century mainstream examples include: The Girl with the Dragon Tattoo , Gone Girl , The Girl on the Train , The Woman in
511-619: A film titled Bilanggo sa Dilim ( Prisoner in the Dark ) in 1986. The 1997 Finnish drama film Neitoperho was loosely inspired by the novel, according to the film's director. A stage adaptation by the actor Brian McDermott (writing as David Parker) was first performed in 1971; among its earliest productions was a West End presentation at the St Martin's Theatre in 1974, with Marianne Faithfull as Miranda and Simon Williams as Clegg. Another adaptation – written, again, by an actor: Mark Healy –
584-545: A self-consciousness recognizing another self-consciousness. He maintained that the entire reality is immediately present to self-consciousness. It undergoes three stages of development: Such an issue in the history of philosophy had only ever been explored by Johann Gottlieb Fichte and its treatment marks a watershed in European philosophy . In order to explain how this works, Hegel narrates an abstracted, idealized history about how two people meet. However, Hegel's idea of
657-511: A sense that he's been leading up to this event his whole life," and deemed Frederick Clegg "one of literature's most evil characters." The Collector has been adapted as a film and several times as a play. It's also referred to in various songs, television episodes and books; one example is in Stephen King's book Misery , when the protagonist Paul Sheldon hopes that Annie Wilkes is not familiar with "John Fowles's first novel." The novel
730-444: A story keeps the person hooked to reading or watching more until the climax is reached. In terms of narrative expectations, it may be contrasted with curiosity and surprise . The objective is to deliver a story with sustained tension, surprise, and a constant sense of impending doom. As described by film director Alfred Hitchcock, an audience experiences suspense when they expect something bad to happen and have (or believe they have)
803-437: A superior perspective on events in the drama's hierarchy of knowledge, yet they are powerless to intervene to prevent it from happening. Suspense in thrillers is often intertwined with hope and anxiety, which are treated as two emotions aroused in anticipation of the conclusion - the hope that things will turn out all right for the appropriate characters in the story, and the fear that they may not. The second type of suspense
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#1732791320962876-511: Is an attempt to show that asymmetric recognitive relations are metaphysically defective, that the norms they institute aren't the right kind to help us think and act with—to make it possible for us to think and act. Asymmetric recognition in this way is authority without responsibility, on the side of the Master, and responsibility without authority, on the side of the Slave. And Hegel's argument
949-413: Is defined by the struggle between masters and slaves. For Kojève, people are born and history began with the first struggle, which ended with the first masters and slaves. A person is always either master or slave; and there are no real humans where there are no masters and slaves. Prior to this struggle, he maintained that the two forces are in animal state or what Hegel called as natural existence but only
1022-426: Is dependent on the bondsman for recognition and also has a mediated relation with nature: the bondsman works with nature and begins to shape it into products for the lord. As the bondsman creates more and more products with greater and greater sophistication through his own creativity , he begins to see himself reflected in the products he created, he realizes that the world around him was created by his own hands, thus
1095-523: Is not true. She begins to pity her captor, comparing him to Caliban in Shakespeare 's play The Tempest because of his hopeless obsession with her. Clegg tells Miranda that his first name is Ferdinand (eventual winner of Miranda's affections in The Tempest ). Miranda tries to escape several times, but Clegg stops her. She also tries to seduce him to convince him to let her go. The only result
1168-399: Is one of the genre's most enduring characteristics. But what gives the variety of thrillers a common ground is the intensity of emotions they create, particularly those of apprehension and exhilaration, of excitement and breathlessness, all designed to generate that all-important thrill. By definition, if a thriller doesn't thrill, it's not doing its job. Suspense is a crucial characteristic of
1241-521: Is preceded in the chapter by a discussion of "Life" and "Desire", among other things, and is followed by "Free Self-Consciousness: Stoicism, Skepticism, and the Unhappy Consciousness". Hegel wrote this story or myth in order to explain his idea of how self-consciousness dialectically sublates into what he variously refers to as absolute knowledge, spirit, and science. Crucially, for Hegel, absolute knowing cannot come to be without first
1314-405: Is presented in epistolary form. Fowles wrote the novel between November 1960 and March 1962. It was adapted into an Academy Award –nominated feature film of the same name in 1965 starring Terence Stamp and Samantha Eggar . The novel is about a lonely young man, Frederick Clegg, who works as a clerk in a city hall and collects butterflies in his spare time. The first part of the novel tells
1387-490: Is regarded as a groundbreaking psychological thriller , introducing innovative suspense-enhancing audiovisual techniques that have become standard and ubiquitous ever since. Gilles (1936) is an early example of a political thriller , and in one of the book's subplots the protagonist Gilles Gambier finds himself embroiled in an left-wing assassination plot against the Prime Minister. The plot falls apart due to
1460-485: Is set against a problem . No matter what subgenre a thriller film falls into, it will emphasize the danger that the protagonist faces. The protagonists are frequently ordinary citizens unaccustomed to danger, although commonly in crime and action thrillers, they may also be "hard men" accustomed to danger such as police officers and detectives. While protagonists of thrillers have traditionally been men, women lead characters are increasingly common. In psychological thrillers,
1533-402: Is that he becomes confused and angry. As Clegg repeatedly refuses to release her, she begins to fantasise about killing him. After a failed attempt to do so, Miranda enters a period of self-loathing. She decides that to kill Clegg would lower her to his level. She refrains from any further attempts to do so. Before she can try to escape again, she becomes seriously ill and dies. The third part of
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#17327913209621606-414: Is that neither a bondsman nor a lord can be considered as fully self-conscious. A person who has already achieved self-consciousness could be enslaved, so self-consciousness must be considered not as an individual achievement, or an achievement of natural and genetic evolution, but as a social phenomenon. As philosopher Robert Brandom explains: Hegel's discussion of the dialectic of the Master and Slave
1679-461: Is that unless authority and responsibility are commensurate and reciprocal, no actual normative statuses are instituted. This is one of his most important and certainly one of his deepest ideas, though it's not so easy to see just how the argument works. Alexandre Kojève 's unique interpretation differs from this. His reading of the lord-bondsman dialectic substituted Hegel's epistemological figures with anthropological subjects to explain how history
1752-437: Is the "...anticipation wherein we either know or else are fairly certain about what is going to happen but are still aroused in anticipation of its actual occurrence." According to Greek philosopher Aristotle in his book Poetics , suspense is an important building block of literature, and this is an important convention in the thriller genre. Thriller music has been shown to create distrust and ominous uncertainty between
1825-687: The Mahābhārata may have used similar narrative techniques to modern thrillers. The Three Apples , a tale in the One Thousand and One Nights ( Arabian Nights ), is a murder mystery with multiple plot twists and detective fiction elements. In this tale, a fisherman discovers a heavy, locked chest on the banks of the Tigris river and sells it to the Abbasid Caliph , Harun al-Rashid , who has it broken open - only to discover inside it
1898-480: The Press & Sun-Bulletin praised the novel as "brisk" and "professional," adding that Fowles "knows how to evoke the oblique horror of innocence as well as the direct horror of knowledge." In 2014, Mary Andrews of The Guardian wrote that "Fowles invites us to defy his main character's excuses and read between the lines, and the facts paint a more chilling picture. Fred doesn't accidentally abduct Miranda, there's
1971-515: The Hegelian " master–slave dialectic ", and that each exerts power over the other—both physically and psychologically—despite their differences in social background. Pamela Cooper writes in her book The Fictions of John Fowles: Power, Creativity, Femininity , that The Collector "dramatizes the clash between a socially entrenched, wealthy middle class and an underprivileged but upwardly mobile working or lower middle class." Additionally, Cooper views
2044-414: The dismembered body of a young woman. Harun then orders his vizier , Ja'far ibn Yahya , to solve the crime and find the murderer within three days. This whodunit mystery has also been considered a detective story, though it lacks a sleuth . The Count of Monte Cristo (1844) is a swashbuckling revenge thriller about a man named Edmond Dantès who is betrayed by his friends and sent to languish in
2117-450: The "edge of their seats" as the plot builds towards a climax . The cover-up of important information is a common element. Literary devices such as red herrings , plot twists , unreliable narrators , and cliffhangers are used extensively. A thriller is often a villain -driven plot, whereby they present obstacles that the protagonist or hero must overcome. Roots of the genre date back hundreds of years, but it began to develop as
2190-478: The British caste system as a prominent point of interest in the novel. Critic Hayden Carruth noted that Fowles is preoccupied with "reshuffling classes under British socialism ", evoked in the differences in social background between the characters of the working-class Frederick, and Miranda, a member of the bourgeoisie . Some scholars have compared the power struggle between Frederick and Miranda as exemplifying
2263-596: The U.S. in the 1960s and one made in the UK in the 1970s. Although in no way linked, both series consisted of one-off dramas, each utilising the familiar motifs of the genre. The Twilight Zone consists of suspenseful unrelated dramas depicting characters dealing with paranormal , futuristic , supernatural , or otherwise disturbing or unusual events. Characters who find themselves dealing with these strange, sometimes inexplicable happenings are said to have crossed over into "The Twilight Zone". Each story typically features
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2336-515: The Window , and the British television series Utopia . Writer Vladimir Nabokov , in his lectures at Cornell University , said: In an Anglo-Saxon thriller, the villain is generally punished, and the strong silent man generally wins the weak babbling girl, but there is no governmental law in Western countries to ban a story that does not comply with a fond tradition, so that we always hope that
2409-439: The achievement of self-consciousness fails. Hegel refers to this failure as "abstract negation" not the negation or sublation required. This death is avoided by the agreement, communication of, or subordination to, slavery. In this struggle the lord emerges as lord because he does not fear death since he does not see his identity dependent on life, while the bondsman out of this fear consents to servitude. This experience of fear on
2482-483: The ambiguous other is superseded—that is, made to recognize the self's pre-reflective, exclusionary "being-for-self." One being will in effect seek to establish a monopoly over self-consciousness or the certainty of oneself as thinking being. Hence, the self-consciousness that results from this initial meeting is necessarily incomplete, as each views the other as an "unessential, negatively characterized object" rather than an equivalent subject. The two individuals manipulate
2555-530: The basic ironic-absurdist thrust of the rhetoric of the book, we will see that love is an entirely appropriate theme of the story—because it is so paradoxical... Fowles takes great care to show that Clegg is like no other person we know. It takes Miranda a long time get rid of her successive stereotyped views of Clegg as a rapist, an extortionist, or a psychotic. She admits to an uneasy admiration of him, and this baffles her. Clegg defies stereotypical description." Furthermore, Bagchee notes Miranda's evolution as
2628-573: The bunker in Wilseyville. They revealed that Lake had named his plot Operation Miranda after the character in Fowles' book. Christopher Wilder , a spree/serial killer of young girls, had The Collector in his possession when he was killed by police in 1984. In 1988, Robert Berdella held his male victims captive and photographed their torture before killing them. He claimed that the film version of The Collector had been his inspiration when he
2701-400: The character(s) is placed in a dangerous situation, or a trap from which escaping seems impossible. Life is threatened, usually because the principal character is unsuspectingly or unknowingly involved in a dangerous or potentially deadly situation. Hitchcock's films often placed an innocent victim (an average, responsible person) into a strange, life-threatening or terrorizing situation, in
2774-442: The characters mirroring each other in a manner that is "richly ironic and reveals of a sombre and frightening view of life's hazards." Bagchee notes that "the two narrations frequently agree not only about physical descriptions of incidents that take place, but often also in the way two very different characters react similarly to given situations or display similar attitudes." Scholar Katarina Držajić considers The Collector "one of
2847-663: The comforts of home, on one condition: she can't leave the cellar. The second part of the novel is narrated by Miranda in the form of fragments from a diary that she keeps during her captivity. Miranda reminisces over her previous life throughout this section of the novel; and many of her diary entries are written either to her sister or to a man named G.P., whom she respected and admired as an artist. Miranda reveals that G.P. ultimately fell in love with her and consequently severed all contact with her. At first, Miranda thinks that Clegg has sexual motives for abducting her; but, as his true character begins to be revealed, she realises that this
2920-405: The development of self-consciousness as such in an encounter between what are thereby (i.e., emerging only from this encounter) two distinct, self-conscious beings. The essence of the dialectic is the movement or motion of recognizing, in which the two self-consciousnesses are constituted in each being recognized as self-conscious by the other. This movement, inexorably taken to its extreme, takes
2993-476: The development of self-consciousness from consciousness, and its sublation into a higher unity in absolute knowledge, is not the contoured brain of natural science and evolutionary biology, but a phenomenological construct with a history; one that must have passed through a struggle for freedom before realising itself. The abstract language used by Hegel never allows one to interpret this story in one way. It can be read as self-consciousness coming to itself through
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3066-423: The end, is not our world ; however, it is similar to the view of the world we have in our darkest hours." Bagchee notes the novel's greatest irony being that Miranda seals her own fate by continually being herself, and that through "each successive escape attempt she alienates and embitters Clegg the more." Despite this, Bagchee views The Collector as a "horrifying" and "ironic" love story : "Once we recognize
3139-401: The form of a "struggle to the death" in which one masters [ beherrscht ] the other, only to find that such lordship makes the very recognition he had sought impossible, since the bondsman, in this state, is not free to offer it. "Independent and Dependent Self-Consciousness: Lordship and Bondage" is the first of two titled subsections in the "Self-Consciousness" chapter of Phenomenology . It
3212-511: The hope that if he keeps her captive long enough, she will grow to love him. After careful preparations, he kidnaps Miranda by drugging her with chloroform and locks her up in the cellar of his house. He is convinced that Miranda will start to love him after some time. However, when she wakes up, she confronts him with his actions. Clegg is embarrassed and promises to let her go after a month. He promises to show her "every respect", pledging not to sexually molest her and to shower her with gifts and
3285-488: The human mind also occurs outside of it. The objective and subjective, according to Hegel, sublate one another until they are unified, and the "story" takes this process through its various "moments" when the lifting up of two contradictory moments results in a higher unity. First, the two natural beings meet and find that self-consciousness is embodied in another "independent existence." The two beings are aware that each can only be "for itself" (that is, self-conscious) when
3358-552: The ineptness of the conspirators, and Gilles ends with the protaganist leaving to fight in the Spanish civil war . The Spy Who Came in from the Cold (1963) by John le Carré is set in the world of Cold War espionage and helped to usher in an era of thriller fiction based around professional spies and the battle of wits between rival spymasters. There have been at least two television series called simply Thriller , one made in
3431-454: The master ceases to be master because there are no more slaves and the slave ceases to be a slave because there are no more masters. A synthesis takes place between master and slave: the integral citizen of the universal and homogenous state created by Napoleon . The lord—bondsman relationship influenced numerous discussions and ideas in the 20th century, especially because of its connection to Karl Marx 's conception of class struggle as
3504-412: The most prominent novels of the 20th century, [which] may be viewed from many interesting perspectives – as a psychological thriller, a Jungian study, a modern or postmodern piece of literature. John Fowles is well established as a master of language, using a variety of tools to convey different meanings and bring his characters closer to his reader." Alan Pryce-Jones of The New York Times wrote of
3577-485: The motive force of social development. Hegel's lord–bondsman dialectic has been influential in the social sciences , philosophy , literary studies , critical theory , postcolonial studies , and in psychoanalysis . Furthermore, Hegel's lord–bondsman trope, and particularly the emphasis on recognition, has been of crucial influence on Martin Buber 's relational schema in I and Thou , Simone de Beauvoir 's account of
3650-522: The notorious Château d'If . His only companion is an old man who teaches him everything from philosophy to mathematics to swordplay . Just before the old man dies, he reveals to Dantès the secret location of a great treasure . Shortly after, Dantès engineers a daring escape and uses the treasure to reinvent himself as the Count of Monte Cristo. Thirsting for vengeance , he sets out to punish those who destroyed his life. The first recognizable modern thriller
3723-552: The novel as a Gothic -inspired work presenting this class struggle "with an insistence on the tedium of Miranda's ordeal." In the Journal of Modern Literature , scholar Shyamal Bagchee attests that the novel possesses an "ironic- absurdist view" and contains a significant number of events which are hinged purely on chance. He compares the world of the novel to the "tragically absurd worlds" of Franz Kafka and Samuel Beckett 's novels. "The world of The Collector , especially towards
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#17327913209623796-399: The novel is narrated by Clegg. At first, he wants to commit suicide after he finds Miranda dead; but, after he reads in her diary that she never loved him, he decides that he is not responsible for what happened to her and is better off without her. He buries her corpse in the garden. The book ends with his thinking of kidnapping another girl. Literary scholars have noted the theme of class in
3869-408: The novel was published, serial killers, spree killers, kidnappers , and other criminals have claimed that The Collector was the basis, the inspiration, or the justification for their crimes. In 1985, Leonard Lake and Charles Chi-Tat Ng abducted 18-year-old Kathy Allen and later 19-year-old Brenda O'Connor. Lake is said to have been obsessed with The Collector. Lake described his plan for using
3942-437: The novel: "John Fowles is a very brave man. He has written a novel which depends for its effect on total acceptance by the reader. There is no room in it for the least hesitation, the smallest false note, for not only is it written in the first person singular, but its protagonist is a very special case indeed. Mr. Fowles's main skill is in his use of language. There is not a false note in his delineation of Fred." Hayden Carruth of
4015-401: The other as essentially real but sees its own self in the other. When initially confronted with another person, the self cannot be immediately recognized: 'Appearing thus immediately on the scene, they are for one another like ordinary objects, independent shapes, individuals submerged in the being [or immediacy] of Life'. A struggle to the death ensues. However, if one of the two should die,
4088-430: The other for their own particular ends. Narcissistically, they become mesmerized by seeing themselves “reflected” in another and attempt, as they previously had done in controlling their own body, to assert their will. According to Hegel, On approaching the other it has lost its own self, since it finds itself as another being; secondly, it has thereby sublated that other, for this primitive consciousness does not regard
4161-420: The part of the bondsman is crucial, however, in a later moment of the dialectic, where it becomes the prerequisite experience for the bondsman's further development. Truth of oneself as self-consciousness, as mediated rather than immediate "being-for-oneself" is achieved only if both live; the recognition of the other gives each of them the objective truth and self-certainty required for self-consciousness. Thus,
4234-492: The protagonists are reliant on their mental resources, whether it be by battling wits with the antagonist or by battling for equilibrium in the character's own mind. The suspense often comes from two or more characters preying upon one another's minds, either by playing deceptive games with the other or by merely trying to demolish the other's mental state. An atmosphere of menace and sudden violence, such as crime and murder, characterize thrillers. The tension usually arises when
4307-496: The run), menaced women, psychotic individuals, spree killers , sociopaths , agents , terrorists, police , escaped convicts , private eyes , people involved in twisted relationships, world-weary men and women, psycho-fiends, and more. The themes frequently include terrorism, political conspiracy , pursuit, or romantic triangles leading to murder. Plots of thrillers involve characters which come into conflict with each other or with outside forces. The protagonist of these films
4380-497: The slave is no longer alienated from his own labor and achieves self-consciousness, while the lord on the other hand has become wholly dependent on the products created by his bondsman; thus the lord is enslaved by the labour of his bondsman. According to Hegel's Lectures on the Philosophy of World History , "Humankind has not liberated itself from servitude but by means of servitude". One interpretation of this dialectic
4453-428: The slave would remain in the animal state afterwards. Kojève argued that, in order to end this interaction, both must be dialectically overcome. For the slave, it requires revolutionary transformation or the negation of the world as it is given. In the process, he does not only transform himself but also the world by creating new conditions. History comes to an end when the difference between master and slave ends, when
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#17327913209624526-609: The stability of the Free World (especially if it is set during the Cold War ). Often in a thriller movie, the protagonist is faced with what seem to be insurmountable problems in his mission, carried out against a ticking clock, the stakes are high and although resourceful, they face personal dilemmas along the way forcing them to make sacrifices for others. Ancient epic poems such as the Epic of Gilgamesh , Homer's Odyssey and
4599-654: The story from his point of view. Clegg is obsessed with Miranda Grey, a middle-class art student at the Slade School of Fine Art . He admires her from a distance but is unable to make any contact with her because he is socially underdeveloped. One day, he wins a large prize in the football pools . He quits his job and buys an isolated house in Sussex near Lewes . He feels lonely, however, and wants to be with Miranda. Unable to make any normal contact, Clegg decides to add her to his "collection" of pretty, preserved objects, in
4672-420: The thriller genre. It gives the viewer a feeling of pleasurable fascination and excitement mixed with apprehension, anticipation, and tension. These develop from unpredictable, mysterious, and rousing events during the narrative, which makes the viewer or reader think about the outcome of certain actions. Suspense builds in order to make those final moments, no matter how short, the most memorable. The suspense in
4745-431: The two enter into the relation of lord and bondsman and preserve the recognition of each other: "In this recognition the unessential consciousness [of the bondsman] is for the lord the object, which constitutes the truth of his certainty of himself." However, this state is not a happy one and does not achieve full self-consciousness. The recognition by the bondsman is merely on pain of death. The lord's self-consciousness
4818-976: The viewer of a film and the character on screen at the time when the music is playing. Common methods and themes in crime and action thrillers are ransoms , captivities , heists , revenge , and kidnappings . Common in mystery thrillers are investigations and the whodunit technique. Common elements in dramatic and psychological thrillers include plot twists , psychology , obsession and mind games . Common elements of science-fiction thrillers are killing robots, machines or aliens, mad scientists and experiments. Common in horror thrillers are serial killers , stalking , deathtraps and horror-of-personality . Elements such as fringe theories , false accusations and paranoia are common in paranoid thrillers . Threats to entire countries, spies, espionage, conspiracies, assassins and electronic surveillance are common in spy thrillers . Characters may include criminals, stalkers , assassins , innocent victims (often on
4891-495: The way the novel connects both photography and collecting as "twin obscenities in order to show the erotic worshipper, with his puritanical hatred of 'the crude animal thing' and his belief in his 'own higher aspirations', is himself prey to the desires he tries to reject." Bagchee notes that the divided narrative structure of the novel—which first presents the perspective of Frederick, followed by that of Miranda (the latter divulged in epistolary form via scattered diary entries)—has
4964-701: The wicked but romantic fellow will escape scot-free and the good but dull chap will be finally snubbed by the moody heroine. Thrillers may be defined by the primary mood that they elicit: suspenseful excitement. In short, if it "thrills", it is a thriller. As the introduction to a major anthology says: ...Thrillers provide such a rich literary feast. There are all kinds. The legal thriller, spy thriller, action-adventure thriller, medical thriller, police thriller, romantic thriller, historical thriller, political thriller, religious thriller, high-tech thriller, military thriller. The list goes on and on, with new variations constantly being invented. In fact, this openness to expansion
5037-457: The women for sex and housekeeping in a "philosophy" videotape. The two are believed to have murdered at least 25 people, including two entire families. Although Lake had committed several crimes in the Ukiah, California , area, his "Operation Miranda" did not begin until after he moved to remote Wilseyville, California . The videotapes of his murders and a diary written by Lake were found buried near
5110-466: Was Erskine Childers ' The Riddle of the Sands (1903), in which two young Englishmen stumble upon a secret German armada preparing to invade their homeland. The Thirty-Nine Steps (1915) is an early detective thriller by John Buchan , in which an innocent man becomes the prime suspect in a murder case and finds himself on the run from both the police and enemy spies. Fritz Lang 's M (1931)
5183-458: Was a teenager. Thriller novel Thriller is a genre of fiction with numerous, often overlapping, subgenres, including crime , horror , and detective fiction . Thrillers are characterized and defined by the moods they elicit, giving their audiences heightened feelings of suspense , excitement , surprise , anticipation and anxiety . This genre is well suited to film and television . A thriller generally keeps its audience on
5256-451: Was adapted as a feature film by the same name in 1965. The screenplay was by Stanley Mann and John Kohn, and it was directed by William Wyler , who turned down The Sound of Music to direct it. It starred Terence Stamp and Samantha Eggar . The 1980 Tamil language film Moodu Pani , according to its director Balu Mahendra , is partly based on The Collector . The novel was also loosely adapted by Filipino director Mike de Leon into
5329-573: Was first performed at Derby Playhouse in October 1998, later appearing at Sweden's Gothenburg English Studio Theatre in April 2007. Yet another adaptation, by Tim Dalgleish and Caz Tricks, was written for Bare Bones Theatre Company (of Wolverton, Milton Keynes) in 1997. In October 2021, Suntup Editions announced a limited 1000 editions of the novel with an introduction by Bradford Morrow and six illustrations by David Álvarez . In several cases since
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