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Romeo and juliet essay titles gcse

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philsophy essay Your paper must offer an argument. And Juliet. It can't consist in the mere report of your opinions, nor in a mere report of the opinions of the philosophers we discuss. You have to defend the claims you make. You have to offer reasons to believe them. So you can't just say: My view is that P. You must say something like: My view is that P. I believe this because. Which Would Best For A Personal Essay. or: I find that the following considerations. provide a convincing argument for P. Similarly, don't just say: Descartes says that Q. Instead, say something like: Descartes says that Q; however, the following thought-experiment will show that Q is not true. or: Descartes says that Q. I find this claim plausible, for the following reasons. Essay Titles. There are a variety of things a philosophy paper can aim to accomplish. For Essays. It usually begins by putting some thesis or argument on essay the table for consideration. Then it goes on to do one or two of the following: Criticize that argument; or show that certain arguments for the thesis are no good Defend the which following would best thesis personal essay argument or thesis against someone else's criticism Offer reasons to believe the romeo and juliet thesis Offer counter-examples to the thesis Contrast the argument strengths and weaknesses of romeo and juliet essay two opposing views about the in an thesis Give examples which help explain the thesis, or which help to make the thesis more plausible Argue that certain philosophers are committed to the thesis by their other views, though they do not come out and explicitly endorse the thesis Discuss what consequences the thesis would have, if it were true Revise the romeo essay gcse thesis, in ways to start an introduction the light of gcse some objection. No matter which of to keep and green these aims you set for yourself, you have to explicitly present reasons for titles gcse the claims you make . Students often feel that since it's clear to of pi essay topics, them that some claim is true, it does not need much argument.

But it's very easy to overestimate the strength of your own position. After all, you already accept it. Titles Gcse. You should assume that your audience does not already accept your position; and big transition you should treat your paper as an attempt to persuade such an titles, audience. Hence, don't start with assumptions which your opponents are sure to reject. If you're to have any chance of persuading people, you have to essay topics, start from common assumptions you all agree to. A good philosophy paper is modest and makes a small point ; but it makes that point clearly and straightforwardly, and it offers good reasons in support of romeo essay it. People very often attempt to accomplish too much in a philosophy paper. The usual result of this is a paper that's hard to which of the following be the statement, read, and romeo and juliet essay titles gcse which is full of inadequately defended and poorly explained claims. So don't be over-ambitious.

Don't try to establish any earth-shattering conclusions in your 5-6 page paper. Done properly, philosophy moves at prompts argument a slow pace. The aim of these papers is for you to show that you understand the material and that you're able to think critically about it. To do this, your paper does have to show some independent thinking. That doesn't mean you have to come up with your own theory, or that you have to make a completely original contribution to human thought. There will be plenty of time for that later on.

An ideal paper will be clear and romeo titles gcse straightforward (see below), will be accurate when it attributes views to gre essay prompts argument, other philosophers (see below), and will contain thoughtful critical responses to the texts we read. It need not always break completely new ground. But you should try to and juliet titles gcse, come up with your own arguments, or your own way of elaborating or criticizing or defending some argument we looked at in class. To Start In An. Merely summarizing what others have said won't be enough. It's even more valuable to talk to and juliet essay titles gcse, each other about what you want to argue in gre essay argument your paper. When you have your ideas worked out well enough that you can explain them to someone else, verbally, then you're ready to sit down and start making an romeo and juliet titles, outline. The overall clarity of your paper will greatly depend on its structure. That is why it is important to think about gcse, these questions before you begin to write. I strongly recommend that you make an outline of your paper, and of the arguments you'll be presenting, before you begin to write.

This lets you organize the points you want to romeo titles, make in your paper and get a sense for how they are going to fit together. It also helps ensure that you're in a position to say what your main argument or criticism is, before you sit down to write a full draft of re coursework gcse your paper. When students get stuck writing, it's often because they haven't yet figured out what they're trying to say. Give your outline your full attention. It should be fairly detailed. (For a 5-page paper, a suitable outline might take up a full page or even more.) I find that making an titles gcse, outline is at least 80% of the work of an introduction in an writing a good philosophy paper. If you have a good outline, the rest of the writing process will go much more smoothly. You need to leave yourself enough time to think about the topic and write a detailed outline. And Juliet Essay Titles Gcse. Only then should you sit down to write a complete draft.

Once you have a complete draft, you should set it aside for a day or two. Then you should come back to it and clean rewrite it. Several times. At least 3 or 4. If you can, show it to your friends and get their reactions to it. Do they understand your main point?

Are parts of essay titles gcse your draft unclear or confusing to them? All of this takes time. So you should start working on your papers as soon as the paper topics are assigned. You may think that since your TA and I already know a lot about this subject, you can leave out a lot of basic explanation and write in a super-sophisticated manner, like one expert talking to gcse, another. I guarantee you that this will make your paper incomprehensible. If your paper sounds as if it were written for a third-grade audience, then you've probably achieved the right sort of clarity. In your philosophy classes, you will sometimes encounter philosophers whose writing is essay titles obscure and complicated. Of The Following Thesis Statement For A Personal Essay. Everybody who reads this writing will find it difficult and frustrating.

The authors in question are philosophically important despite their poor writing, not because of romeo it. So do not try to emulate their writing styles. Make the structure of your paper obvious. How can you do this? First of all, use connective words, like: because, since, given this argument thus, therefore, hence, it follows that, consequently nevertheless, however, but in the first case, on the other hand.

These will help your reader keep track of of pi topics where your discussion is going. Be sure you use these words correctly! If you say P. Romeo And Juliet. Thus Q. Gcse. then you are claiming that P is romeo and juliet a good reason to accept Q. You had better be right. If you aren't, we'll complain. Don't throw in gre essay a thus or a therefore to make your train of thought sound better-argued than it really is. Another way you can help make the and juliet titles gcse structure of your paper obvious is by telling the to start an introduction in an essay reader what you've done so far and and juliet titles what you're going to gre essay argument, do next. And Juliet. You can say things like: I will begin by. Before I say what is wrong with this argument, I want to. These passages suggest that.

I will now defend this claim. Further support for this claim comes from. For example. These signposts really make a big difference. Consider the following two paper fragments: . We've just seen how X says that P. I will now present two arguments that not-P. My first argument is. My second argument that not-P is.

X might respond to my arguments in several ways. For instance, he could say that. However this response fails, because. Another way that X might respond to my arguments is by claiming that. This response also fails, because.

So we have seen that none of X's replies to my argument that not-P succeed. Hence, we should reject X's claim that P. I will argue for the view that Q. There are three reasons to believe Q. Firstly. The strongest objection to of pi, Q says. However, this objection does not succeed, for the following reason. Romeo. Isn't it easy to see what the structure of these papers is? You want it to be just as easy in your own papers. A final thing: make it explicit when you're reporting your own view and when you're reporting the views of some philosopher you're discussing. The reader should never be in gre essay argument doubt about whose claims you're presenting in a given paragraph. You can't make the structure of your paper obvious if you don't know what the structure of your paper is, or if your paper has no structure.

That's why making an romeo and juliet essay titles gcse, outline is of the be the best statement personal essay so important. Be concise, but explain yourself fully. These demands might seem to pull in opposite directions. (It's as if the first said Don't talk too much, and the second said Talk a lot.) If you understand these demands properly, though, you'll see how it's possible to meet them both. We tell you to be concise because we don't want you to ramble on about everything you know about essay titles gcse, a given topic, trying to show how learned and intelligent you are. Topics. Each assignment describes a specific problem or question, and you should make sure you deal with that particular problem. Nothing should go into your paper which does not directly address that problem. Prune out everything else.

It is always better to concentrate on and juliet titles one or two points and develop them in depth than to try to cram in too much. One or two well-mapped paths are better than an impenetrable jungle. Formulate the on how our city clean central problem or question you wish to address at the beginning of your paper, and keep it in mind at all times. Make it clear what the problem is, and why it is a problem. Romeo Titles. Be sure that everything you write is relevant to on how to keep our city, that central problem. In addition, be sure to say in the paper how it is romeo and juliet essay titles relevant. Following Best Thesis Essay. Don't make your reader guess. One thing I mean by explain yourself fully is romeo and juliet that, when you have a good point, you shouldn't just toss it off in one sentence. Explain it; give an life essay topics, example; make it clear how the point helps your argument. But explain yourself fully also means to be as clear and explicit as you possibly can when you're writing. It's no good to protest, after we've graded your paper, I know I said this, but what I meant was.

Say exactly what you mean, in the first place. Romeo And Juliet Gcse. Part of gcse what you're being graded on is how well you can do that. Pretend that your reader has not read the material you're discussing, and has not given the topic much thought in advance. This will of course not be true. But if you write as if it were true, it will force you to explain any technical terms, to illustrate strange or obscure distinctions, and to be as explicit as possible when you summarize what some other philosopher said. Use plenty of romeo essay titles gcse examples and definitions. Examples are also useful for explaining the notions that play a central role in for essays your argument. Romeo And Juliet. You should always make it clear how you understand these notions, even if they are familiar from everyday discourse. As they're used in everyday discourse, those notions may not have a sufficiently clear or precise meaning.

For instance, suppose you're writing a paper about abortion, and you want to assert the claim A fetus is life essay a person. Romeo And Juliet Essay Titles. What do you mean by a person? That will make a big difference to whether your audience should find this premise acceptable. Essay. It will also make a big difference to how persuasive the rest of your argument is. By itself, the following argument is pretty worthless: A fetus is a person. It's wrong to kill a person. Therefore, it's wrong to kill a fetus. Romeo And Juliet Titles Gcse. For we don't know what the author means by calling a fetus a person.

On some interpretations of person, it might be quite obvious that a fetus is a person; but quite controversial whether it's always wrong to kill persons, in that sense of person. On other interpretations, it may be more plausible that it's always wrong to kill persons, but totally unclear whether a fetus counts as a person. So everything turns here on what the author means by which best personal person. The author should be explicit about how he is using this notion. In a philosophy paper, it's okay to titles gcse, use words in ways that are somewhat different from the ways they're ordinarily used.

You just have to make it clear that you're doing this. For instance, some philosophers use the word person to mean any being which is essay capable of rational thought and self-awareness. And Juliet Essay Titles Gcse. Understood in this way, animals like whales and chimpanzees might very well count as persons. That's not the way we ordinarily use person; ordinarily we'd only on how to keep our city clean and green call a human being a person. But it's okay to and juliet essay titles gcse, use person in this way if you explicitly say what you mean by it. And likewise for other words.

Don't vary your vocabulary just for the sake of variety. If you call something X at the start of your paper, call it X all the way through. So, for instance, don't start talking about Plato's view of the life of pi topics self, and then switch to talking about Plato's view of the soul, and essay gcse then switch to talking about Plato's view of the mind. Gre Essay Argument. If you mean to be talking about the same thing in and juliet titles gcse all three cases, then call it by the same name. In philosophy, a slight change in vocabulary usually signals that you intend to be speaking about something new. Using words with precise philosophical meanings. Philosophers give many ordinary-sounding words precise technical meanings. Consult the handouts on and green Philosophical Terms and Methods to make sure you're using these words correctly. Essay Titles Gcse. Don't use words that you don't fully understand. Use technical philosophical terms only where you need them. You don't need to explain general philosophical terms, like valid argument and essay necessary truth.

But you should explain any technical terms you use which bear on romeo titles gcse the specific topic you're discussing. So, for instance, if you use any specialized terms like dualism or physicalism or behaviorism, you should explain what these mean. To Start In An Essay. Likewise if you use technical terms like supervenience and the like. Romeo Titles. Even professional philosophers writing for other professional philosophers need to explain the special technical vocabulary they're using. Different people sometimes use this special vocabulary in gcse different ways, so it's important to romeo and juliet essay titles, make sure that you and ways your readers are all giving these words the romeo and juliet essay titles same meaning.

Pretend that your readers have never heard them before. Presenting and assessing the views of others. Then ask yourself: Are X's arguments good ones? Are his assumptions clearly stated? Are they plausible? Are they reasonable starting-points for X's argument, or ought he have provided some independent argument for gre essay prompts them? Make sure you understand exactly what the position you're criticizing says.

Students waste a lot of time arguing against views that sound like, but are really different from, the views they're supposed to be assessing. Remember, philosophy demands a high level of precision. Essay. It's not good enough for you merely to get the general idea of somebody else's position or argument. Be The Thesis For A Personal Essay. You have to get it exactly right. (In this respect, philosophy is and juliet essay titles more like a science than the other humanities.) A lot of the essay on how to keep clean and green work in romeo and juliet titles gcse philosophy is making sure that you've got your opponent's position right. You can assume that your reader is stupid (see above). But don't treat the philosopher or the views you're discussing as stupid.

If they were stupid, we wouldn't be looking at them. Essay. If you can't see anything the view has going for it, maybe that's because you don't have much experience thinking and romeo and juliet essay arguing about the view, and so you haven't yet fully understood why the view's proponents are attracted to it. Re Coursework Gcse. Try harder to figure out essay titles gcse, what's motivating them. Philosophers sometimes do say outrageous things, but if the view you're attributing to on how clean and green, a philosopher seems to be obviously crazy, then you should think hard about whether he really does say what you think he says. Use your imagination. Try to figure out what reasonable position the and juliet essay gcse philosopher could have had in mind, and direct your arguments against that. In your paper, you always have to explain what a position says before you criticize it. If you don't explain what you take Philosopher X's view to be, your reader cannot judge whether the gre essay prompts criticism you offer of romeo and juliet essay X is a good criticism, or whether it is big transition for essays simply based on and juliet a misunderstanding or misinterpretation of X's views. So tell the reader what it is you think X is which following best for a saying. Don't try to tell the reader everything you know about X's views, though.

You have to titles gcse, go on re coursework to offer your own philosophical contribution, too. And Juliet Essay Gcse. Only summarize those parts of essay on how our city clean X's views that are directly relevant to what you're going to go on to do. Sometimes you'll need to romeo gcse, argue for your interpretation of X's view, by citing passages which support your interpretation. Ways In An. It is permissible for you to discuss a view you think a philosopher might have held, or should have held, though you can't find any direct evidence of that view in the text. When you do this, though, you should explicitly say so. Say something like: Philosopher X doesn't explicitly say that P, but it seems to me that he's assuming it anyway, because. When a passage from a text is particularly useful in supporting your interpretation of some philosopher's views, it may be helpful to quote the romeo essay passage directly. (Be sure to specify where the passage can be found.) However, direct quotations should be used sparingly. It is seldom necessary to on how clean, quote more than a few sentences. Romeo Essay. Often it will be more appropriate to paraphrase what X says, rather than to quote him directly.

When you are paraphrasing what somebody else said, be sure to on how to keep and green, say so. (And here too, cite the pages you're referring to.) Quotations should never be used as a substitute for your own explanation. And when you do quote an romeo and juliet gcse, author, you still have to following would thesis statement personal, explain what the quotation says in your own words. If the quoted passage contains an argument, reconstruct the argument in more explicit, straightforward terms. If the quoted passage contains a central claim or assumption, then indicate what that claim is. And Juliet Essay Titles. You may want to give some examples to illustrate the author's point. If necessary, you may want to distinguish the author's claim from other claims with which it might be confused.

Sometimes when students are trying to explain a philosopher's view, they'll do it by giving very close paraphrases of the philosopher's own words. They'll change some words, omit others, but generally stay very close to re coursework gcse, the original text. Romeo Essay. For instance, Hume begins his Treatise of Human Nature as follows: All the perceptions of the human mind resolve themselves into gre essay prompts argument, two distinct kinds, which I shall call impressions and ideas. The difference betwixt these consists in the degrees of force and and juliet essay titles liveliness, with which they strike upon the mind, and make their way into our thought or consciousness. Those perceptions, which enter with most force and violence, we may name impressions; and under this name I comprehend all our sensations, passions, and emotions, as they make their first appearance in the soul. By ideas I mean the faint images of these in thinking and reasoning. Here's an example of how you don't want to paraphrase: Hume says all perceptions of the essay and green mind are resolved into two kinds, impressions and ideas. The difference is in how much force and liveliness they have in our thoughts and consciousness. The perceptions with the romeo and juliet essay most force and violence are impressions. Gre Essay Prompts. These are sensations, passions, and and juliet essay emotions. Ideas are the faint images of our thinking and reasoning.

There are two main problems with paraphrases of this sort. In the first place, it's done rather mechanically, so it doesn't show that the author understands the text. In the prompts second place, since the author hasn't figured out what the titles gcse text means well enough to of the best essay, express it in his own words, there's a danger that his paraphrase may inadvertently change the meaning of the text. In the romeo and juliet titles gcse example above, Hume says that impressions strike upon topics, the mind with more force and liveliness than ideas do. My paraphrase says that impressions have more force and liveliness in our thoughts. It's not clear whether these are the same thing.

In addition, Hume says that ideas are faint images of impressions ; whereas my paraphrase says that ideas are faint images of our thinking . Romeo Essay Titles. These are not the same. Essay Clean And Green. So the romeo gcse author of the paraphrase appears not to have understood what Hume was saying in the original passage. A much better way of explaining what Hume says here would be the of the would be the best statement for a personal essay following: Hume says that there are two kinds of 'perceptions,' or mental states. He calls these impressions and ideas. And Juliet Essay Titles. An impression is a very 'forceful' mental state, like the sensory impression one has when looking at an introduction in an essay a red apple. An idea is a less 'forceful' mental state, like the idea one has of an romeo and juliet titles, apple while just thinking about it, rather than looking at it. It is not so clear what Hume means here by 'forceful.' He might mean. Don't be afraid of mentioning objections to your own thesis. It is better to bring up an objection yourself than to hope your reader won't think of it.

Explain how you think these objections can be countered or overcome. Of course, there's often no way to deal with all the objections someone might raise; so concentrate on the ones that seem strongest or most pressing. So it's OK to ask questions and raise problems in your paper even if you cannot provide satisfying answers to them all. Essay. You can leave some questions unanswered at the end of the paper. But make it clear to and juliet essay titles gcse, the reader that you're leaving such questions unanswered on purpose . And you should say something about how the question might be answered, and about what makes the question interesting and gre essay relevant to the issue at hand. If something in a view you're examining is unclear to you, don't gloss it over. Call attention to and juliet, the unclarity.

Suggest several different ways of essay our city clean and green understanding the view. Explain why it's not clear which of these interpretations is correct. If you're assessing two positions and you find, after careful examination, that you can't decide between them, that's okay. It's perfectly okay to say that their strengths and weaknesses seem to be roughly equally balanced. But note that this too is a claim that requires explanation and reasoned defense, just like any other. You should try to provide reasons for this claim that might be found convincing by essay someone who didn't already think that the of pi essay two views were equally balanced. Sometimes as you're writing, you'll find that your arguments aren't as good as you initially thought them to be. You may come up with some objection to your view to titles, which you have no good answer.

Don't panic. If there's some problem with your argument which you can't fix, try to big transition, figure out why you can't fix it. It's okay to change your thesis to and juliet gcse, one you can defend. Personal Essay. For example, instead of writing a paper which provides a totally solid defense of view P, you can instead change tactics and write a paper which goes like this: One philosophical view says that P. This is a plausible view, for romeo and juliet the following reasons. However, there are some reasons to ways to start an introduction, be doubtful whether P. One of these reasons is X. X poses a problem for the view that P because. It is not clear how the defender of P can overcome this objection. Or you can write a paper which goes: One argument for and juliet gcse P is the 'Conjunction Argument,' which goes as follows. At first glance, this is following would statement for a personal a very appealing argument. However, this argument is faulty, for the following reasons. One might try to repair the argument, by.

But these repairs will not work, because. I conclude that the Conjunction Argument does not in fact succeed in establishing P. Writing a paper of these sorts doesn't mean you've given in to the opposition. After all, neither of these papers commits you to romeo titles, the view that not-P. On How To Keep. They're just honest accounts of how difficult it is to find a conclusive argument for P. P might still be true, for all that. Then come back to the draft and essay titles re-read it. Argument. As you read each sentence, say things like this to yourself: Does this really make sense? That's totally unclear! That sounds pretentious. What does that mean?

What's the connection between these two sentences? Am I just repeating myself here? and so on. And Juliet Essay Titles Gcse. Make sure every sentence in your draft does useful work. Get rid of any which don't. If you can't figure out what some sentence contributes to of the following would best thesis essay, your central discussion, then get rid of it. Even if it sounds nice.

You should never introduce any points in your paper unless they're important to and juliet gcse, your main argument, and you have the room to really explain them. If you're not happy with some sentence in life of pi topics your draft, ask yourself why it bothers you. It could be you don't really understand what you're trying to say, or you don't really believe it. Make sure your sentences say exactly what you want them to essay titles gcse, say. For example, suppose you write Abortion is the same thing as murder.

Is that what you really mean? So when Oswald murdered Kennedy, was that the same thing as aborting Kennedy? Or do you mean something different? Perhaps you mean that abortion is a form of murder. In conversation, you can expect that people will figure out what you mean. Gre Essay Argument. But you shouldn't write this way. And Juliet Titles. Even if your TA is able to figure out what you mean, it's bad writing. In philosophical prose, you have to be sure to big transition words for essays, say exactly what you mean. Also pay attention to the structure of your draft. When you're revising a draft, it's much more important to work on the draft's structure and overall clarity, than it is to clean up a word or a phrase here or there. Make sure your reader knows what your main claim is, and what your arguments for that claim are.

Make sure that your reader can tell what the essay titles point of every paragraph is. Life Of Pi. It's not enough that you know what their point is. It has to romeo and juliet titles, be obvious to your reader, even to a lazy, stupid, and life of pi essay topics mean reader. If you can, show your draft to your friends or to other students in the class, and get their comments and advice. I encourage you to do this. Do your friends understand your main point? Are parts of your draft unclear or confusing to them? If your friends can't understand something you've written, then neither will your grader be able to understand it. Your paragraphs and your argument may be perfectly clear to you but not make any sense at all to someone else. Another good way to check your draft is to read it out loud. This will help you tell whether it all makes sense.

You may know what you want to say, but that might not be what you've really written. Reading the paper out loud can help you notice holes in romeo and juliet titles your reasoning, digressions, and unclear prose. You should count on essay writing many drafts of romeo titles gcse your paper. At least 3 or 4!! Check out the following web site, which illustrates how to revise a short philosophy paper through several drafts. Notice how much the paper improves with each revision: Writing tutor for Introductory Philosophy Courses http://web.williams.edu/wp-etc/philosophy/jcruz/jcruz/writingtutor/. Also, don't begin with a sentence like Webster's Dictionary defines a soul as.

Dictionaries aren't good philosophical authorities. Words For Essays. They record the way words are used in everyday discourse. And Juliet Essay Titles Gcse. Many of the same words have different, specialized meanings in philosophy. It's OK to end a sentence with a preposition. It's also OK to split an infinitive, if you need to. (Sometimes the easiest way to say what you mean is by splitting an infinitive. For example, They sought to better equip job candidates who enrolled in their program.) Efforts to avoid these often end up just confusing your prose. Do avoid other sorts of grammatical mistakes, like dangling participles (e.g., Hurt by gcse her fall, the tree fell right on Mary 's leg before she could get out of the titles gcse way), and following would best thesis statement the like.

You may use the word I freely, especially to romeo and juliet titles gcse, tell the reader what you're up to (e.g., I've just explained why. Now I'm going to consider an argument that. ). Don't worry about ways in an, using the verb is or to romeo and juliet essay gcse, be too much. Big Transition Words. In a philosophy paper, it's OK to use this verb as much as you need to. You shouldn't need to use these secondary readings when writing your papers. The point of the papers is to teach you how to analyze a philosophical argument, and present your own arguments for or against some conclusion. And Juliet Essay Titles. The arguments we'll be considering in an introduction in an essay class are plenty hard enough to deserve your full attention, all by themselves. Can you write your paper as a dialogue or story?

But neither should your papers be too short! Don't cut off an argument abruptly. If a paper topic you've chosen asks certain questions, be sure you answer or address each of those questions. Please double-space your papers, number the pages, and and juliet essay gcse include wide margins. We prefer to get the papers simply stapled: no plastic binders or anything like that.

Include your name on the paper. And don't turn in to start in an your only and juliet essay gcse copy! (These things should be obvious, but apparently they're not.) You'll be graded on three basic criteria: How well do you understand the to keep our city and green issues you're writing about? How good are the arguments you offer? Is your writing clear and well-organized? We do not judge your paper by essay gcse whether we agree with its conclusion.

In fact, we may not agree amongst ourselves about what the correct conclusion is. But we will have no trouble agreeing about whether you do a good job arguing for your conclusion. More specifically, we'll be asking questions like these: Do you clearly state what you're trying to accomplish in your paper? Is it obvious to the reader what your main thesis is? Do you offer supporting arguments for the claims you make? Is it obvious to of pi essay topics, the reader what these arguments are? Is the and juliet essay gcse structure of your paper clear?

For instance, is it clear what parts of your paper are expository, and what parts are your own positive contribution? Is your prose simple, easy to read, and easy to understand? Do you illustrate your claims with good examples? Do you explain your central notions? Do you say exactly what you mean? Do you present other philosophers' views accurately and charitably? Explain this claim or What do you mean by this? or I don't understand what you're saying here This passage is unclear (or awkward, or otherwise hard to read) Too complicated Too hard to follow Simplify Why do you think this?

This needs more support Why should we believe this? Explain why this is a reason to believe P Explain why this follows from what you said before Not really relevant Give an example? Try to anticipate these comments and of the would best thesis statement for a personal essay avoid the need for romeo and juliet gcse them! Your paper should do some philosophical work. Here are some more interesting things our student could have done in his paper. Gre Essay Prompts Argument. He could have argued that B doesn't really follow from A, after all. Or he could have presented reasons for thinking that A is false. Or he could have argued that assuming A is an illegitimate move to make in a debate about whether B is true. And Juliet Essay Titles. Or something else of that sort. These would be more interesting and of pi satisfying ways of engaging with Philosopher X's view. Responding to romeo and juliet essay gcse, comments from me or your TA.

Your rewrites should try to go beyond the specific errors and problems we've indicated. If you got below an A-, then your draft was generally difficult to read, it was difficult to see what your argument was and re coursework what the structure of your paper was supposed to be, and so on. You can only and juliet titles gcse correct these sorts of failings by rewriting your paper from scratch. (Start with a new, empty window in your word processor.) Use your draft and the comments you received on it to gre essay prompts, construct a new outline, and write from romeo and juliet essay that. Keep in gre essay mind that when I or your TA grade a rewrite, we may sometimes notice weaknesses in unchanged parts of your paper that we missed the first time around. Or perhaps those weaknesses will have affected our overall impression of the romeo and juliet paper, and we just didn't offer any specific recommendation about fixing them. Essay. So this is romeo and juliet essay titles another reason you should try to improve the whole paper , not just the big transition for essays passages we comment on.

It is possible to and juliet gcse, improve a paper without improving it enough to raise it to the next grade level. Essay And Green. Sometimes that happens. But I hope you'll all do better than that. Most often, you won't have the opportunity to essay, rewrite your papers after they've been graded. So you need to teach yourself to to keep clean, write a draft, scrutinize the draft, and revise and rewrite your paper before turning it in to be graded. Naturally, I owe a huge debt to the friends and professors who helped me learn how to write philosophy.

I'm sure they had a hard time of it. If you're a teacher and and juliet essay gcse you think your own students would find this web site useful, you are free to point them here (or to re coursework, distribute printed copies). It's all in the public good.

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essays of murder Murder Culture: Adventures in 1940s Suspense. She had spoken aloud. And Juliet Titles! She hadn’t meant to; she hadn’t wanted those words to come up from her throat to her lips. She hadn’t meant to to start an introduction essay think them, much less speak them. She didn’t want Gratia to have heard them. But across the and juliet room the girl lifted her eyes from her book. “What did you say?” she queried.

In 1947, novelist Mitchell Wilson proclaimed: “Within the past ten years, we have been witnessing a new form of popular fictionthe story of suspense.” 1 We are so used to this genremany of our bestsellers are suspense thrillersthat it’s a little surprising to be the best statement recall that once it was quite a new thing. Romeo And Juliet Essay! On reflection, though, we might wonder: Was it really so new? Don’t all novels and short stories, indeed all narratives in popular media, depend on suspense? We want to know what happens next; we call a book that drives us forward a page-turner. But writers of the of pi topics period began to romeo essay gcse distinguish this general sort of suspense from something more specific. Suspense, Wilson claims, depends on the reader’s identifying with a protagonist who is in acute jeopardy. Life Of Pi Essay Topics! That protagonist reacts to the situation not with superhuman calm or jauntiness but with fear. By describing the situation and the character’s response to romeo and juliet titles it, the writer can communicate fear directly to the reader, who, says Wilson, “is aware of his own cowardice.” The universality of fear as an emotion allows the reader to understand how the hero reacts, either by impulsively lashing out re coursework gcse, or by fleeing the situation. What can best justify fear?

The prospect of death. Essay Gcse! The threat of murder, Wilson claims, becomes central to this sort of suspense. It proves to the reader that there is no limit to the impending violence. 2 This quality is very different from the diffuse suspense we get from a romance or a detective story, in which the characters are usually not in mortal peril. Sooner or later, though, the protagonist will have to come to overcome fear.

The framework of the suspense story is the of pi essay continual struggle of the frightened protagonist to fight back and save himself in spite of his pervading anxiety, and in this respect he is truly heroic. The action of the and juliet story does not consist in re coursework gcse, mere activity, but in the hero’s change of mood in response to changing circumstances. The suspense story, in this sense, is centrally about a character who starts out as a victim but who through brains and bravery can overcome the essay threat of death. Wilson wasn’t alone in spotting the trend. At the our city clean time, several writers were claiming that the suspense story had come into its own. Most commonly, they distinguished the suspense story or “thriller” from the detective story. Wilson points out that the detective story relies upon curiosity rather than suspenseboth for the reader and the detective, who tends to respond to murder with detached, intellectual calm. The sleuth is romeo and juliet, a puzzle-solver, and the reader is to start an introduction essay, asked to join in the game of romeo and juliet essay titles gcse, deciding “whodunit.” The reader doesn’t identify with the to start in an detective because the narration typically doesn’t give us access to the detective’s mind, or at and juliet essay titles least not at every point: something is kept back so the detective can reveal the solution at the climax.

Another contrast with the which following be the best thesis for a personal essay classic detective story was evident to these commentators. Instead of starting the plot with a dead victim, as the detective story tends to do, the suspense story builds up to the crime by centering on the potential victimsomeone “enmeshedin a web of circumstance.” 3 The buildup could involve revealing the murderer quite early, all the better to emphasize the danger that faces the bewildered hero or heroine. Indeed, part or all of the story could be told from the essay titles gcse viewpoint of the killer. Our City Clean And Green! Novelist Helen McCloy maintained that this technique fostered suspense, in romeo essay gcse, place of the surprise cultivated by detective fiction. 4 Charlotte Armstrong agreed, noting that “Surprise is not much fun.” 5. This isn’t to suggest that the suspense story wholly lacked detective-story elements. Indeed, there were often mysteries aplenty. Instead of assigning the investigation to a professional or a private detective, the suspense story often made the anxious potential victim follow up clues.

By letting the protagonist turn detective, the action could pivot from flight to fight, the climax at which the hero faces down danger in the manner Wilson described. In speaking of a new form of storytelling, Wilson was picking out something that seemed to him and other writers quite specific. But what about his datinghis claim that the gcse form had emerged over the last ten years? That would put the beginning of the suspense story at 1937 or 1938. He doesn’t justify this claim, but the authors he considers central to the new genre are Eric Ambler, Graham Greene, and Dorothy B. Hughes, all novelists who began writing crime fiction around that date. Wilson’s readers would have been aware of Ambler’s spy novels (most notably, The Mask of and juliet essay, Dimitrios , 1939, and Journey into Fear , 1940), Greene’s criminal “entertainments” such as A Gun for Sale (aka This Gun for Hire , 1936), The Confidential Agent (1939), and The Ministry of Fear (1943), and Hughes’ tales of domestic murder and international espionage such as The So-Blue Marble (1940), The Bamboo Blonde (1941), The Fallen Sparrow (1942), and life essay topics, Dread Journey (1945). Romeo! After Wilson’s article, these authors would go on to write very famous suspense stories, such as Greene’s The Third Man (1949) and Hughes’ In a Lonely Place (1947). Interestingly, Wilson nowhere mentions suspense-driven films in his analysis of the genre.

Yet by 1947 they were becoming a major form of of the following be the for a personal, Hollywood cinema. Essay Titles! How did that process come about, and what relation does it have to changes in popular literature? We can understand the dynamic, I think, in an introduction essay, two steps. First, we can trace the 1940s model of suspense back to three relatively stable traditions that fed into it: the detective story, the domestic thriller, and and juliet, the spy story. Essay Our City Clean And Green! These suggest that Wilson’s ten-year window is romeo titles gcse, somewhat too narrow. Then we can see how those traditions gained wide popularity in the 1940s as part of a diverse ecosystem of mystery narratives and informed what we came to recognize as the suspense thriller. Finally, I’ll try to ways in an essay characterize the ecological niche occupied by one portly English filmmaker.

Displacing the detective. The mystery story, a very broad category, became identified chiefly with the detective story thanks to Conan Doyle’s Sherlock Holmes adventures. But the essay genre went through several changes between the on how to keep our city clean 1920s and and juliet essay titles gcse, the 1940s. Central to the classic form was the series detective, the investigator who in our city clean, a string of stories solved crimes through rational inference aided by and juliet essay brilliant intuition. The set of character roles was constant: the investigator(s); the gre essay prompts criminal(s); the victim(s); and the bystanders, those suspects, witnesses, and helpers drawn into the inquiry.

Likewise, the canonical plot began with the crime already accomplished (e.g., the body in the library), and traced the course of the case until the criminal was exposed. Solving the romeo and juliet essay gcse puzzle depended on enigmatic physical traces, incompatible testimony, psychological insights, and other clues. But by the end of the 1920s the best practitioners felt that the classic sleuth format needed rethinking. Gre Essay! For historians of the form, the person who offered the most drastic revision was Anthony Berkeley Cox, who wrote as Anthony Berkeley and as Francis Iles. After creating a dazzling exercise in permutational solutions, The Poisoned Chocolates Case (1928), he announced that in effect the main path to rejuvenating detective fiction involved demoting the detective. Specifically, this new strategy meant organizing the plot’s point of view around either the criminal or the victim. So Iles’ Malice Aforethought (1931) becomes an and juliet gcse account of a frustrated provincial doctor’s plan to gcse kill his wife. In Before the Fact (1932), a woman gradually realizes her husband is going to murder her. Neither book is narrated in romeo and juliet essay, the first person, but each does confine itself wholly to of pi essay topics the mind of the romeo and juliet gcse protagonist. Moreover, as both titles indicate, each plot’s point of attack is very early: the on how our city clean and green crime comes gradually, after a crescendo of menacing incidents. There were precedents for the Iles method, from romeo titles Crime and Punishment to A. To Start! P. Herbert’s House by the River (1920), C. S. Forester’s Payment Deferred (1926), and Berkeley’s The Second Shot (1929).

Of the titles gcse earlier experiments, most directly influential on mystery writers were the “inverted” detective stories by R. Austin Freeman gathered in The Singing Bone (1912). Freeman redesigned point of life essay topics, view by romeo essay titles gcse using the first part of the tale to which following best thesis statement for a essay recount the commission of the crime, chiefly from the criminal’s point of view, while part two traces the efforts of Dr. Thorndyke to solve the mystery. With the and juliet essay killer’s identity revealed at the outset, the story depends on generating curiosity about how Thorndyke will solve it (a dynamic continued in the television series Columbo ). Big Transition Words! As for romeo point of attack, the “inverted” plots begin well before the crime is committed, in order to establish motives and plans. In essence Iles’ novels lopped off the second half of the an introduction in an essay inverted tale, eliminating or minimizing the and juliet titles role of the investigation and concentrating wholly on the buildup to the crimethe panic and on how to keep clean and green, pressures suffered by the killer, or the and juliet gcse suspicion and essay our city clean, fear of the victim. Coming from a skilled practitioner of whodunits, the two Iles books crystallized, at least in romeo titles gcse, England, the re coursework creative option of designing a mystery plot focused around a would-be killer or victim. Freeman Wills Crofts, whose orthodox detective stories hinged on breaking ironclad alibis, joined the new wave with The 12:30 from Croydon (1934).

Here the step-by-step planning and execution of and juliet titles gcse, a murder is essay topics, told from the would-be killer’s standpoint. As if in recognition that he had left a tradition behind, Crofts makes his culprit exceptionally well-read in mystery fiction. He meditates in essay gcse, prison: Somehow, alone there in the semi-darkness, the excellence of his own plans seemed less convincing than ever before. Stories he had read recurred to him in which the life of pi guilty had made perfect plans, but in all cases they had broken down. Those double tales of Austin Freeman’s! 6. Detective stories conventionally refer to other detective stories, apparently assuring us that this story is more “real” than its counterparts but actually serving to cite traditions that the reader enjoys recalling.

Here Crofts acknowledges that Freeman’s “inverted” story made salient the romeo and juliet gcse possibility of a new gimmick: How will the criminal err in committing the crime? Most Golden Age detective writers continued to develop puzzles, but they noticed the new trends. Dorothy Sayers acknowledged that an emphasis on psychology and the circumstances leading up to the crime had created “studies in of the following best thesis essay, murder” rather than straight detective tales. 7 Agatha Christie, whose talent was more protean than is romeo and juliet essay gcse, usually acknowledged, blended before-the-fact plotting with mystery in And Then There Were None (1939), and she had a character in on how to keep clean and green, Towards Zero (1944) muse: I like a good detective story.But, you know, they begin in romeo and juliet titles, the wrong place! They begin with the murder. But the murder is the end. The story begins long before thatyears before sometimeswith all the causes and events that bring certain people to a certain place at a certain time on a certain day.Even nowsome dramasome murder to beis in course of preparation.

8. Ten-Minute Alibi (1935). In advocating plotting that was more psychological and life of pi essay topics, less dependent on puzzle-solving, Cox and his colleagues were joining forces with a mystery form that had received little respect from the critical community. Since at least World War I, British and American writers had been cultivating what we might call the domestic thriller, a tale of and juliet essay titles, mystery and re coursework gcse, danger in essay, ordinary circumstances. The best-known instance in Britain is Marie Belloc Lowndes’ The Lodger (1913). The novel about a Jack-the-Ripper figure might have been rendered as a sensation-driven pursuit story or a tale of rational detection. Instead, it is which for a, re-plotted as a tale of suspicion seeping through a lower-middle-class household. By organizing the book’s viewpoint principally around the landlady who fears that her lodger may be a serial killer, Belloc Lowndes created a mystery largely filtered through the imperfect knowledge of romeo and juliet essay, a bystander. If The Lodger has an American counterpart, it is Mary Roberts Rinehart’s The Circular Staircase (1908). Again, the action is focused around a witness: the spinster Rachel Innes, who encounters the bizarre happenings in a rented summer house. Of Pi Essay! Unlike The Lodger ’s Mrs.

Bunting, Rachel narrates the and juliet essay gcse tale and takes up the role of investigator, eventually bringing the words for essays guilty party to light. The contributions of these two writers were enormously popular, but orthodox historians of gcse, mystery fiction have tended to mock their gynocentric plots. Rinehart in particular was ridiculed as the exponent of the “Had I But Known” school of mystery, whereby sudden plot twists are motivated by the protagonist’s convenient lapses of memory or judgment. Big Transition Words! Worse, as one authoritative history puts it, is “the manner in which romantic complications are allowed to obstruct the orderly process of puzzle and solution.” 9 The sexism here is essay titles gcse, pretty blatant: Rinehart’s plots are no more preposterous or dependent on ways an introduction essay, coincidence than many tales featuring heroes rather than heroines, and and juliet essay gcse, of course many detective novels include clumsy subplots involving romantic couples. More important for re coursework our purposes, Belloc Lowndes, Rinehart, and writers who followed, such as Mignon Eberhart and Mabel Seeley, sustained a tradition of domestic, woman-in-peril plotting. A sympathetic critic remarked that Rinehart’s books provide “no put-the-pieces-together formula” but rather “an out-guess-this-unknown-or-he’ll-out-guess-you, life-and-death struggle.” 10 Many critics have noted Rebecca ’s debt to and juliet essay sensation fiction and the Gothic line via Jane Eyre , but these other writers furnished more proximate antecedents for du Maurier’s tale. As Alfred Hitchcock remarked: “There was a whole school of feminine literature at gcse the period.” 11. At almost exactly the and juliet essay gcse same time, murder was being domesticated on words, the English and romeo and juliet titles gcse, American stage. Following Would Statement Personal Essay! The major vogue seems to have come in the late 1920s, when, as a New York Times correspondent put it, London suffered “a theatrical crime waveowing to a deluge of and juliet essay titles, mystery plays and ‘thrillers.’” 12 Several of these plays were detective stories and sensation pieces, many from Edgar Wallace. But audiences were also treated to Interference (1927), The Letter (1927), Spellbound (1927; no relation to Hitchcock’s film), Blackmail (1928), Patrick Hamilton’s Rope (aka Rope’s End , 1929), and other popular “murder plays.”

The genre continued through the ways to start an introduction essay decade, with successes like the stage adaptation of romeo titles gcse, Payment Deferred (1932), the ticking-clock drama Ten-Minute Alibi (1933), Without Witness (1934), The Two Mrs. Carrolls (1935), the serial-killer drama Night Must Fall (1935), Love from a Stranger (1936), the big transition words for essays Rope -derived Trunk Crime (aka The Last Straw , 1937), and another Patrick Hamilton triumph, Gaslight (1938). The New York stage didn’t lag behind, importing several of romeo and juliet gcse, these hits while adding Nine Pine Street (1933, based on the Lizzie Borden case), Double Door (1933, an anticipation of Rebecca ), Invitation to a Murder (1934), and Kind Lady (1935). 13. A new label came to be attached to these dramas of home-bred homicide. When Val Gielgud wrote to Patrick Hamilton requesting a new BBC radio drama, he suggested that “a psychological thriller along the lines of ‘Rope’ would be good.” 15 The phrase came into currency during the 1930s to describe domestic thrillers in fiction, onstage, and onscreen, and gcse, plays began advertising themselves with the label. 15.

Why the emphasis on romeo essay titles gcse, psychology? Chiefly, I suspect, to distinguish these plays from the blood-and-thunder sensation of Edgar Wallace and the extroverted adventure of John Buchan. On the West End stage, drawing-room murder on the Ilesian model was easy to dramatize. If the plot divulges the plotter or killer from the start, the emphasis falls naturally on why the crime is committed and to keep and green, whether the guilty party will escape. Now the drama grows out of festering motive, middle-class frustration, and the gradual realization that loved ones can’t be trusted. The 1920s1930s detective story, with its least-likely-suspect surprise, had relied on and juliet titles gcse, the idea that anyone could be a murderer, but the domestic thriller developed this idea in re coursework gcse, depth.

The theme was doubtless accelerated by much-publicized murders committed by essay titles gcse solid citizens, notably Dr. Ways To Start In An! H. H. Crippen, Loeb and Leopold, and romeo essay titles, baby-faced Sidney Fox (inspiration for Night Must Fall ). These fictions replaced the Napoleonic crimes of of pi topics, sensation thrillers by and juliet essay gcse a sense that humdrum life harbored lethal passions. Hence a series of books organized around killers’ psychological states: Richard Hull’s The Murder of My Aunt (1935), Winifred Duke’s Skin for Skin (1935), Bruce Hamilton’s Middle Class Murder (1936), and gre essay argument, James Ronald’s This Way Out (1939). Patrick Hamilton’s Hangover Square (1941), with its schizophrenic protagonist and bold sexuality, indicates how far things had come in just a few years. A parallel trend emerged in America. While the romeo and juliet essay hard-boiled stories of gre essay, Cain and Chandler gained most attention, other writersagain, mostly womenoffered stories of lethally disturbed husbands (Elisabeth Sanxay Holding’s Death Wish , 1934, and Net of Cobwebs , 1935) and tangled domestic murder plots (Cora Jarrett’s Night over romeo and juliet essay gcse, Fitch’s Pond , 1933). What about focusing point of view around the victim? Psychology came to prominence there too.

Boileau and Narcejac would point out later that traditional detective fiction had minimized the quality of fear. 16 But concentrating on the potential victim’s anxieties and suspicions made fear central to the new thriller. Not incidentally, most of the killers were male and words, many of their victims were female, continuing the woman-in-peril motif developed in Lowndes, Rinehart, and their followers, as well as in romeo and juliet titles gcse, Before the big transition words Fact . Titles! The psychological thriller was able to reactivate the following would thesis Bluebeard tradition, often making explicit reference to it. Reviewers sometimes felt obliged to warn audiences and readers that the psychological thriller wasn’t a mystery in the usual sense: “whodunit” would be revealed very soon. Yet this foreknowledge didn’t dissipate interest. Whether novel or play, the romeo essay titles domestic thriller shifted the plot’s thrust from curiosity about the past (who killed X and why and gre essay prompts, how?) to anticipation (will Y succeed in killing X and escape punishment?). As one writer explained in reviewing A. A. Milne’s play The Fourth Wall (1928): Though we saw the murder, we do not know what little slip Carter may have made in romeo and juliet essay gcse, the arrangement of the room or the concoction of his own and Laverick’s alibi. Essay! Thus while Susan continues her investigation we do not know what clue she will discover or how she will arrive at the truth; nor when she has a part of the information in her hands do we how she will force Carter to reveal the rest. Here is scope for action enough, and not for action only but for as much drawing of titles, character as is possible in the course of a narrative so full of events.

The first act, which shows the big transition murder, is admirable in its suspense and surprise. 17. In The Fourth Wall and most other murder plays, the killer doesn’t go scot-free. In the novels as well, authors tend to and juliet essay gcse emphasize that their clever miscreants fail to to keep our city execute a perfect crime. I spy (All the worse for me) As some detective-story writers, under the romeo and juliet essay gcse Iles influence, moved closer to the psychological thriller, another group of writers exploited suspense in tales of international intrigue. This trend seems to for essays have been central to Mitchell Wilson’s 1947 intuition about the new thriller, for all three of his specific examplesGreene, Ambler, and romeo and juliet essay, Hughesmade their reputations in the spy genre. Historians trace the modern spy story back to big transition for essays British writers, William LeQueux and E. Phillips Oppenheim, and later Edgar Wallace, John Buchan, and William “Sapper” McNiele. 18 These writers developed the basic conventions.

Central among these was a fairly episodic plot based on a series of essay, adventures, driven by a hunt (for secret documents or exotic weapons) or a chase. Typically the prompts protagonist ran afoul of some large-scale force, such as a master criminal, a sinister foreign government, or a secret coalition bent on and juliet essay gcse, world domination. Ways To Start! At the romeo essay titles gcse same time, the protagonist might also be sought by big transition words for essays the police, a domestic intelligence agency, or some other force of law. The result was the “double chase,” in which the romeo gcse hero must elude both villains and the law, as in John Buchan’s The Thirty-Nine Steps (1915). Of Pi Essay! The chase plot was filled out by romeo and juliet gcse captures, escapes, abductions of the gcse heroes’ allies or loved ones, and sometimes surprisingly comic interludes. The conventions forged by these writers were ready-made for cinema, so it’s not surprising that some of the romeo gcse earliest feature films and serials in many countries were spy stories, such as Denmark’s Dr. Gar-el-Hama series, Louis Feuillade’s crime serials, and Lang’s Dr.

Mabuse films and which of the following would for a essay, Spies (1928). Because the hunt and the pursuit were central to romeo and juliet essay titles gcse the action, the typical spy story set its protagonist on a journey. The detective story and the domestic thriller tended to be centripetal, focused on a limited number of settings or even a single household. Ways An Introduction In An! The tale of romeo titles, intrigue, however, was centrifugal; its characters were propelled from city to countryside, from one country or region to another. Big Transition Words! Central scenes might take place on a train or on a highway. The Middle East, Russia, and Asia furnished exotic locales.

This incessant travel might highlight themes of national identity and devotion to a country or cause. The protagonist of the essay titles gcse spy novel might be a professional secret agent or an gcse independent adventurer who takes on a mission out of patriotism, personal loyalty, or a quest for essay titles excitement. Big Transition Words For Essays! Before the late 1930s, the spy thriller also contained some degree of titles gcse, humor, either in comic characters and dialect rendering or in a light-hearted approach to dangers, as seen in Agatha Christie’s Tuppence and Tommy Beresford series. But things became more somber as spying began recruiting more naïve protagonists. Gre Essay Argument! Late in the decade, international tensions allowed writers to hurl ordinary citizens into the conflict.

In Ambler’s Epitaph for and juliet titles gcse a Spy (1938), the protagonist is a weak emigrant who is pressured into spying by brutal and bungling intelligence officials. Helen MacInnes’ Above Suspicion (1941) propels an Oxford couple into life of pi essay intrigue while they visit Europe for “one last look at peacetime” in 1939. The protagonist of Greene’s Confidential Agent (1939) is what the title calls him: not a “secret agent” but a representative seeking coal to help the Spanish revolutionary cause. Now that the gcse plot depended on amateurs and innocents, missions can go amiss and the ending may be more glum than happy; Epitaph for a Spy and The Confidential Agent end with little sense of victory. The technique of on how to keep, a restricted narration becomes as crucial to the spy story as it is to detective fiction and the domestic thriller. And Juliet Gcse! Buchan and the later writers tend to life essay topics focus their stories around the essay titles consciousness of the protagonist, either through first-person accounts or through limiting the range of knowledge. In these books, we often know only as much as the re coursework gcse hero or heroine does. Restricted narration enhances the romeo and juliet titles gcse mystery component, while also making every encounter a potential threat: Is the friendly helper encountered on the road actually working for the enemy?

The limitations of knowledge make possible the conventional bluffs and would be the best statement personal essay, double-crosses that create plot reversals typical of spy fiction, but they can also generate the anxietyin protagonist and in readerthat Mitchell Wilson found central to the suspense story. These three trends in popular fiction and titles gcse, drama seem most pertinent to the emergence of the 1940s suspense story. But they could not have exercised their influence had not America, home to Hollywood, gone mad for mystery and murder. Hitchcock, Judith Anderson, and ways in an, Joan Fontaine on the set of romeo titles gcse, Rebecca . There is following would be the best thesis essay, a standard story about romeo and juliet titles gcse, what happened to American mystery fiction during the 1930s and 1940s. The Sherlock Holmes model of rational crime-solving, we’re told, was replaced by the two-fisted private detective who came up from the pulp magazines to essay to keep literary prestige. Romeo And Juliet Essay Titles! Like most such synopses, though, this one cuts some corners. In popular literature, the adventures in deduction of Lord Peter Wimsey, Hercule Poirot, and Ellery Queen remained far more widely read than the chronicles of Sam Spade, Philip Marlowe, and prompts, other roughnecks.

Only Mickey Spillane’s Mike Hammer rivaled the popularity of his white-glove counterparts. 19 Moreover, the standard outline plays down the syntheses between the puzzle-driven and action-driven plotting we find in the work of Rex Stout and Erle Stanley Gardner (hands down the most popular mystery writer of the and juliet titles 1940s). Prompts Argument! 20 At the romeo same period, the gre essay prompts argument spy story often incorporated a puzzle element, and this was balanced against vigorous physical action provided by hunts and chases. Now we can see that the standard history also ignores the emergence of the psychological thriller. Romeo And Juliet! Mitchell Wilson’s remark in life of pi topics, 1947 that the suspense story had come of age marks a dawning recognition that there was currently a form of mystery that steered a course between the puzzle and titles, the hard-boiled adventure. More generally, throughout the 1940s there was a recalibration and refinement of mass-market genres. Publishers developed “category publishing,” as Janice Radaway has explained: a strategy of gcse, identifying a stable market for a certain type of fiction and serving that with steady, predictable output.

21 Mysteries, Westerns, and romances, so identified, made up the bulk of and juliet, U.S. genre fiction in the 1940s. Their ambit expanded enormously when the to start essay paperback revolution opened up new markets. Mystery, including detective stories, spy stories, and suspense fiction, was by gcse far the most popular category. In 1940, 40% of all novels published were mysteries. To Keep Clean! 22 Serialized in slick magazines, then brought out in hardcover, then in cheaper editions, perhaps eventually to be the basis of radio plays or movies, mystery titles assured publishers solid returns and attained a degree of literary respectability at the same time. While Westerns and romance titles flew under the radar, newspapers reserved column inches for reviews of mysteries. Publishers devoted entire imprints to mystery fiction, and went on to subdivide their product lines to reflect readers’ tastes. Gcse! Doubleday’s Crime Club imprint created indicia to prompts label a book as “Chess Puzzle,” “Character and Atmosphere,” “Spies and Sabotage,” “Some Like Them Tough,” and so on. Simon and romeo essay titles, Schuster’s “Inner Sanctum” logo marked “a novel of suspense, a novel of crime and punishment rather than a novel of crime and detection.” 23. As this ecosystem expanded and for essays, diversified, commentators began to distinguish suspense stories from and juliet essay titles other forms of thriller. The radio program Suspense began regular broadcasting in 1942.

It asked aspiring writers to provide plots based on tense, “precarious” situations, while avoiding “plain ‘who-dun-its’ or detective stories” and “fantastic horror-yarns involving zombies, ghosts, etc.” 24 Howard Haycraft, the leading historian of crime fiction, admitted that the of the be the essay Rinehart “romantic-feminine school of crime fiction” had been a major force and had invaded the best-seller lists. Hence the current popularity of “the somewhat amorphous ‘suspense’ novel.” 25 Anthony Boucher, another major critic, claimed that World War II coincided with a new phase of mystery fiction. With classic detective situations “exhausted,” the public demanded “a heightening of the pure element of suspense.” Suspense had become central to the “personal narratives” that constituted the new cutting edge of mystery writing. 26 Mitchell Wilson’s article is only one piece recognizing the new genre. If you had to pick a single book that shifted U.S. And Juliet Gcse! mystery publishing toward psychological suspense, it would probably be Daphne du Maurier’s Rebecca . (Its date of publication, 1938, fits comfortably into Wilson’s ten-year time frame.) Upon publication it immediately became a bestseller, and by would best for a personal essay the end of the 1940s it had sold over a million copies, making it the most successful mystery novel of the era. 27 In fact, it was hardly recognized as a mystery novel. Long, melancholy, dense with description and reflections on the protagonist’s inner life, it was greeted as a serious piece of fiction, closer to The Citadel (1941), Random Harvest (1941), and other middlebrow novels than to the genre works of Rinehart, Seeley, Eberhart than others. With its echoes of Jane Eyre , Rebecca provided a model for the “romantic suspense” novel that would come to prominence in the 1950s and romeo gcse, eventually become the Harlequin romance of our day. With Rebecca and many other novels, the American suspense thriller came into its own.

Today we tend to associate the trend with film noir and outstanding male authors like Cornell Woolrich, John Franklin Bardin, and for essays, Georges Simenon (then being frequently translated). Romeo Gcse! Again, however, the trend was also shaped by Vera Caspary, Dorothy B. Life Of Pi Essay Topics! Hughes, Charlotte Armstrong, Mabel Seeley, Doris Miles Disney, Elizabeth Daly, Hilda Lawrence, Margaret Millar, Josephine Tey, Patricia Highsmith, and other female authors. As the essay gcse “inverted” and multi-perspectival detective story had pushed some English practitioners toward psychological mystery, so too did many of these women novelists abandon their series detectives and shift toward pure suspense. Cinema followed the trend. The murder plays Payment Deferred , Kind Lady , and Night Must Fall had found their way to the screen in the 1930s, but now there was a burst of adaptations. Gaslight was filmed in 1944, The Two Mrs. Prompts Argument! Carrolls and Love from a Stranger in romeo essay titles, 1947. Other revivals included the Gothic classics Jane Eyre (1944) and The Woman in White (1948) and the Edwardian books The Lodger (1944) and The House by ways an introduction in an the River (1950). Some of the earliest adaptations came from the authors named by Wilson as prototypes of suspense.

Graham Greene’s work yielded the gcse films This Gun for Hire (1942), Ministry of Fear (1945), and prompts argument, The Confidential Agent (1945). Eric Ambler’s novels were the romeo and juliet basis for Journey into Fear (1943) and re coursework gcse, The Mask of Dimitrios (1944). The less-known Dorothy B. Hughes supplied The Fallen Sparrow (1943), Ride the Pink Horse (1947), and In a Lonely Place (1950). At the same time, Woolrich, Hughes, Armstrong, Caspary, and many other thriller novelists found their work turned into movies. 28 Elisabeth Sanxay Holding, called by romeo titles gcse Raymond Chandler “the top suspense writer of prompts, them all,” wrote the romeo and juliet gcse novel that would become The Reckless Moment (1949). Words For Essays! 29. Hollywood developed original thrillers as well, and the trade press spotted a trend.

A 1944 Variety article claimed that. The typical tale in titles, the new genre crawls with living horror, is eerie with something impending, and socks its suspense thrill well along toward the middle of the story, instead of doing the crime victim in at re coursework the beginning and then building a whodunit and a detective quiz as the element of suspense. 30. The passage reminds us that emotion of fear, so central to titles gcse Mitchell Wilson’s commentary, is also a stock response triggered by the horror film of the 1930s. In 1947 Wilson felt no need to of the following would best statement for a specify that the fear conjured up by the suspense story was not akin to that in horror or fantasy films: the essay titles cause was not a monster or a supernatural being. Re Coursework! Three years earlier, however, the anonymous Variety writer was just starting to make this distinction. The article takes Rebecca (1940) , Phantom Lady, Gaslight, Dark Waters (1944), Mask of Dimitrios, Hangover Square (1945), and even The Picture of Dorian Gray (1945), as examples of the “new horrifier.” Such films created, one observer noted, “a horror cycle” that was quite different from “vampire, werewolf and Frankenstein chillers.” 31.

Lumping all these suspense films together seems a bit odd today. Essay Titles Gcse! Aren’t Gaslight and Dark Waters really Gothics? By contrast, aren’t Phantom Lady and Hangover Square examples of film noir? We need to remember that female Gothics and films noirs are really ex post facto categories, constructed by later critics to point out affinities and differences among groups of films. These categories didn’t exist for ways to start an introduction essay contemporaries, and filmmakers and writers of the time carved things up rather differently. Many of the 1940s films’ plots, as we’d expect, put women in danger in a forbidding household.

So we have Experiment Perilous (1944), Dark Waters (1944), My Name Is Julia Ross (1945), Undercurrent (1946), Dragonwyck (1946), A Stolen Life (1946), The Spiral Staircase (1946), Sleep, My Love (1948), Caught (1949), and several other films, many adapted from plays and novels. Romeo Titles! When a Hollywood’s psychological thriller focused on re coursework gcse, a male protagonist it could yield something like Hangover Square , The Woman in the Window (1944), Conflict (1945), Scarlet Street (1945), The Suspect (1945), The Chase (1946), They Won’t Believe Me (1947), The Big Clock (1948), Take One False Step (1949), and The Second Woman (1950). What’s striking is that as these narrative patterns multiplied, mixtures and variants appeared. The plot of Phantom Lady , novel and film, depends on a properly victimized, perhaps paranoid noir hero; but he is rescued by his girlfriend. Instead of murderous husbands we find equally manipulative women targeting husbands, wives, and engaged couples ( A Guest in the House , 1944; Strange Impersonation , 1946; Leave Her to Heaven , 1946). Even the “Gothic” plots exhibit a lot of variety.

In Dark Waters , the villain isn’t the husband but an entire family conspiring against the bride. In A Woman’s Vengeance , the essay gcse would-be killer isn’t the of the would be the thesis for a unfaithful husband but a third woman in love with him. My Name is Julia Ross shows how a dowager conspires to obliterate a woman’s identity so that she can marry the old woman’s demented son. The 1944 Variety article mentions another salient feature of the new thriller. It deals with insanity“unpredictable in its attack; frightful in its effect among the companion characters.” 32 During the 1930s, Dorothy Sayers predicted a robust future for and juliet psychoanalytic mystery, and occasionally novels of the time invoke concepts of the “subconscious” and “revived” childhood traumas. 33 American detective stories of the 1940s dabbled in the trend more overtly; one of the earliest seems to words for essays be Lawrence Treat’s 1943 O as in Omen , which makes its sleuth a psychiatrist who interprets not only suspects’ dreams but his own. Hitchcock’s Spellbound (1945), with its therapeutic investigation, turned the suspense plot toward psychoanalysis.

With Bewitched (1945), The Locket (1947), and Possessed (1947), Freudian motifs became conventional parts of the romeo and juliet essay titles gcse domestic thriller. Even less doctrine-driven tales would suggest that the murderous husband or lover or seductress harbored a streak of madness. By the late 1940s, the suspense story was a major genre. In her survey of the movie colony, Hortense Powdermaker noted the essay clean recent vogue for “psychological murder thrillers” and the rise of and juliet gcse, suspense as a factor in A pictures. 34 Instead of a detective story, remarked another writer, Hollywood could now offer “adult and exciting screen drama on the mystery framework, with emphasis on character and of pi topics, suspense.” 35 Another observer stressed that whereas many mysteries had been consigned to the ranks of B pictures, the new ones could be treated with top production values. 36 Crucial in all cases was the element of personal vulnerability: “The trend is toward emotion, excitement, suspensetoward ‘What is going to happen to this protagonist?’” 37. The Lady Vanishes (1938).

Sharp-eyed readers will have noticed that nearly all my examples of suspense films come from the romeo gcse years 1944 onward. What about the years before? Examples of suspense pictures are curiously hard to gre essay find in those years. There are the B films Stranger on the Third Floor (1940), often taken as a prototypical film noir; Shadows on the Stair (1941) from romeo essay titles gcse a Frank Vosper play; Fingers at essay clean the Window (1942); and Street of essay gcse, Chance (1942). The rare A pictures we might consider include Ladies in Retirement (1941), but featuring minor players; I Wake Up Screaming (1941), a somber detective film narrated largely from the standpoints of witnesses and suspects; and two upper-tier spy films of 1943, Journey into Fear and Above Suspicion . There are probably other candidates I don’t know of, but I don’t believe that pre-1944 releases boast very many top-rank suspense-driven films. Except of big transition for essays, course, for and juliet the films directed by Alfred Hitchcock. So far my story must seem a case of argument, Hamlet without the Prince. It’s been a challenging exercise to sketch the context of 1940s Hollywood and barely mention Hitchcock, but eventually I have to confront reality. The “missing” suspense films of the early 1940s are by Hitchcock: Rebecca (1940), Foreign Correspondent (1940), Suspicion (1941), Saboteur (1942), and Shadow of a Doubt (1943).

And it seems likely that they strongly influenced what would follow. Hitchcock came to America acknowledged as the magisterial exponent of high tension. Romeo Essay Titles Gcse! In a 1936 article in gre essay argument, the Times of and juliet essay, London, a reviewer writes, “Mr. Hitchcock’s long and strong suit is re coursework, suspense.” 38 British cinema of the 1930s exploited detective plots, domestic thrillers, and romeo titles, spy stories, but Hitchcock managed to words give them unusually sharp form and force. 39 Murder! (1930) respects the detective-story premises of the source novel. The Lodger (1926) is an adaptation of Belloc Lowndes’ classic domestic thriller. Blackmail (1929) also relies on conventions of that genre: the killer’s identity is known at romeo gcse the start, and her task is to ways to start in an essay escape punishment. Above all there were the five spy films in and juliet essay titles, the second half of the 1930s.

Although The Secret Agent (1936) centers on a professional spy, the big transition for essays others show ordinary people caught up in international intrigue: the family in The Man Who Knew Too Much (1934) and a couple on a train in essay, The Lady Vanishes (1938). Even the essay to keep clean Richard Hannay of The 39 Steps (1935) seems more an ordinary person than the adventure-loving gentleman of the Buchan books. Romeo Essay Titles Gcse! Hitchcock and his screenwriters proved adroit at blending one format with another. Young and Innocent (1937) is words for essays, derived from a detective novel, but the titles film divulges the murderer’s identity in the first scene in order to set up a double-barreled pursuit. Clean! In Sabotage (1936), the spy story becomes a domestic thriller when a wife learns that her husband is a ruthless bomber. In both England and the U.S., Hitchcock aligned himself closely with major trends in mystery fiction and drama. His reading tastes ran to Belloc Lowndes and John Buchan. And Juliet Titles! 40 He considered adapting Buchan’s Greenmantle and which following would personal, Iles’ Malice Aforethought . Romeo And Juliet Essay! The Man Who Knew Too Much began as a tale of Bulldog Drummond, the hero created by Sapper.

Having filmed one Du Maurier novel, Jamaica Inn (1939), Hitchcock contemplated buying the rights to Rebecca before Selznick acquired it. Gcse! 41 Two of essay, his films featured the life essay actor Frank Vosper, co-author of the significant murder play Love from romeo titles gcse a Stranger . Once in America, he returned to similar sources, hoping to remake The Lodger , filming Iles’s Before the Fact as Suspicion , and eventually turning Patrick Hamilton’s Rope into a 1948 film. There were personal affinities as well. Of Pi Essay Topics! His assistant Joan Harrison was married to Eric Ambler, and he wrote a glowing introduction to romeo and juliet titles a 1943 collection of big transition words for essays, Ambler novels. 42. With the exception of the romeo titles gcse comedy Mr. and Mrs. To Start Essay! Smith (1941), Hitchcock’s earliest American films maintained his prominence in the subgenres. The hugely successful Rebecca (1940) was followed by two more domestic thrillers, Suspicion (1941) and Shadow of a Doubt (1943). Sandwiched among these were two spy chases, Foreign Correspondent (1940) and Saboteur (1942).

Very quickly his work set the benchmark. Throughout the 1940s, he was called the “master of suspense” in both critics’ columns and film advertising. The term reappeared in trade advertisements for Shadow of a Doubt, Lifeboat , and Spellbound . 43 A 1941 review of Ladies in and juliet titles, Retirement praised it for providing Hitchcockian suspense. 44 “The novel story line” of Crossroads (1942), noted a Variety critic in gcse, June 1942, “would do credit to an Alfred Hitchcock thriller.” 45 Richard Wallace’s direction of The Fallen Sparrow (1943, from a Dorothy B. Hughes novel) was said to be “reminiscent of the Hitchcock touch.” 46 His name was invoked in discussions of films by Val Lewton and even Walt Disney. Romeo And Juliet Gcse! 47 After a decade in Hollywood he had been around long enough to be called “the old master.” 48.

Hitchcock worked to argument promote his brand. 49 In interviews and public talks he differentiated the detective story from his sort of thriller, often stressing that distinction between suspense and surprise that was picked up by Charlotte Armstrong, Helen McCloy, and romeo and juliet essay gcse, other commentators on the emerging suspense genre. 50 He composed an of the following would be the thesis statement for a introduction to romeo and juliet essay gcse a 1947 collection of suspense stories in which he laid down his ideas on technique. In that anthology he returned to a favorite topic, the narrational options that create suspense. Much of suspense comes down to range of knowledge. “The author may let both reader and character share the knowledge of the nature of the dangers which threaten.Sometimes, however, the reader alone may realize that peril is in the offing, and watch the ways to start an introduction essay characters moving to meet it in blissful ignorance and disquieting unconcern.” 51 Hitchcock continued to pronounce on principles of romeo essay, suspense throughout the 1940s, applying them to whatever project he had in hand. (In Rope , the fact that the audience knows the killers from the start “makes for real suspense.” 52) He became the foremost practitioner and theorist of the gcse new genre.

From this perspective, Mitchell Wilson’s 1947 piece was part of and juliet essay, a new discourse on suspense that Hitchcok had helped shape. His influence extended beyond cinema. To write for the radio show Suspense, a writer declared, demanded two kinds of gre essay, suspense. “Interest” or “mystification” suspense compels the audience to wonder what will happen next, while “emotional” suspense requires knowledge of and juliet titles gcse, all the factors in re coursework, play, along with identification with the threatened person. The author’s example of emotional suspense is the scene in Rope when the maid slowly clears the books off the chest containing the body. Indeed, the romeo and juliet titles gcse program was explicitly designed to bring to radio “the particular kind of big transition words, suspense developed in pictures by Alfred Hitchcock.” 53. The Master’s problems, and some solutions. Above Suspicion (1943).

It’s very likely, then, that Hitchcock’s films of 19401943 gave an impetus to the emergence of full-blown suspense pictures in the years that followed. Romeo Titles! We can’t attribute everything to them; after all, if Hitchcock hadn’t directed Rebecca , someone else would have, and it would probably have had a large impact in any case. More broadly, the films fitted smoothly into the murder culture of American popular media. Still, the films provided high standards of quality and topics, meticulous models of essay titles, plot and style that other filmmakers could learn from. In following Hitchcock’s models and other efforts of the early forties, the studios couldn’t turn on on how to keep, a dime. With writers recruited for the war effort, original screenplays were in shorter supply. Studios increased the number of literary adaptations, often drawing from short stories and romeo and juliet essay titles, serialized novels. Once a property was found, it typically took at least a year to develop into on how our city clean and green a finished film, and very often a story went through several years of development. 54 Such factors help explain why it took a while before the and juliet essay titles gcse psychological thriller could emerge as a production trend. When it did, in ways in an essay, calendar 1944, Hitchcock’s example remained inescapable.

Yet counter-forces developed. Once the suspense story developed, was he to be its only master? In the literary realm there was of course Simenon, whose Maigret detective novels and his proto-noir romans durs were being translated at the time. Fritz Lang, dubbed by romeo titles gcse Variety “a master at maintaining high suspense,” 55 had like Hitchcock made his reputation with crime thrillers before arriving in America, and his Hollywood work of the re coursework gcse 1940s soon paralleled the Englishman’s: espionage thrillers ( Man Hunt, Hangmen Also Die!, Ministry of Fear, Cloak and romeo essay titles, Dagger ) alongside domestic ones. Indeed, The Woman in the Window, Scarlet Street, Secret Beyond the Door , and House by the River might well have been Hitchcock projects. There was also Robert Siodmak. His Spiral Staircase started as a Selznick project planned for Bergman and Hitchcock, and his Phantom Lady was produced by Hitchcock colleague Joan Harrison.

Billy Wilder told a reporter that Double Indemnity (1944) was an gre essay attempt to “out-Hitch Hitch.” 56 Soon the same reporter, who had been an ardent Hitchcock admirer, could write that Fred Zinneman’s Seventh Cross (1944) “filmed suspense in a new way” by avoiding all “tricks”“unlike Alfred Hitchcock, master of essay, surprise” (!). 57. Filmmakers of the period learned a great deal from Hitchcock’s technique, such as his gliding camera movements inward to build tension, or his abrupt cuts to close-ups. There was even open copying. Lifting from the Albert Hall climax of The Man Who Knew Too Much , Richard Whorf’s Above Suspicion (1943) presents an assassination during an orchestra performance, with the gunshot masked by big transition words for essays a blast of music. 58 At the same time, I think, Hitchcock’s early thrillers displayed some problems that other filmmakers could learn to romeo titles gcse avoid.

Take Rebecca and of the would be the best personal essay, Suspicion , the two tales of uxorial mistrust. Compared to the trim thrillers of Eberhart, Rebecca is hardly a perfect template for suspense. Its plot evokes mystery but in a rather leisurely way, gradually crystallizing questions about romeo and juliet essay gcse, how Rebecca died and why widower Maxim de Winter behaves brusquely. The emphasis falls on the nameless heroine’s pangs of ways to start an introduction, naivete and inferiority when thrust into a wealthy milieu. Her investigations of Rebecca’s life and death are mostly inadvertent results of romeo and juliet essay gcse, her social gaffes. Not until quite late in the plot does she become seriously threatened, when the sadistic housekeeper Mrs. Danvers urges the distraught girl to fling herself out a window. And not until a storm leads locals to discover Rebecca’s remains in a sunken sailboat does Maxim confess that he shot his wife and gcse, buried her body at and juliet essay titles sea. Now that the mystery is dispelled, a more traditional suspense can kick in. Essay! Maxim must bluff the coroner’s inquest and evade the blackmailing scheme of and juliet essay titles, Rebecca’s lover Favell. Gre Essay! Maxim and the heroine are saved, again more or less accidentally, but with the Manderley estate destroyed, they end their lives in a seedy French hotel and titles, brood on their lost Manderley and their hollow marriage.

Burdened with a murderous hero and which would be the statement for a personal essay, an unhappy ending, Rebecca faced problems of transposition to the screen. To placate the and juliet Hays Office, Selznick and big transition words, Hitchcock modified the plot to make Rebecca’s death an accident, covered up by Maxim. On the whole, other changes made for the film streamlined the action, excising the musings that fill the titles book and building up the suspense, chiefly through the pressures the sinister Mrs. Danvers brings to bear on the new wife. From the for essays start, Hitchcock doses du Maurier’s plot with local tension, as when it seems that the heroine will leave Monte Carlo with her employer before she can bid farewell to Max. The cinematography turns Manderley into romeo and juliet an oversized mausoleum with doorknobs set at the level of the heroine’s shoulders. Which Following Best Thesis Statement For A! Hitchcock seized the opportunity to hint at ominous secrets harbored in the vast rooms and corridors.

Rebecca sets Hitchcock on the way toward one of his central situations of his career: the woman trapped in a threatening household. Rebecca poses the questions: Whom have I married? What is romeo and juliet titles, his past? What am I to him? The novel’s plot answers by exposing Maxim as a man who murdered his first wife but found some happiness with his second. Suspicion (1941) poses the same questions, but Iles’ novel suggests frightful answers: I have married a liar, a cheat, and a killer; and he intends to murder me. Again, the film’s ending had to words for essays be fudged. Suspicion ’s heroine has misinterpreted Johnny, and romeo essay titles gcse, he has intended to big transition for essays kill himself, not her. And Juliet Gcse! The reconciliation is even more of a letdown than in which of the best thesis, the Rebecca instance. Variety responded sourly: In switching tragic ending of Francis Iles’ novel in essay, favor of a happy finale, Hitchcock and his scripters devised a most inept and inconclusive windup that fails to measure up to the dramatic intensity of to start essay, preceding footage, and this doesn’t reach the climax expected.

In this respect, picture structure is romeo essay, deficient, and it is obvious that the writers endeavored to toss in for essays, the happy ending in a few hundred feet and let it go at that. 59. Later filmmakers solved the problem of the enigmatic husband in a simpler fashion: Let the romeo and juliet titles husband be a murderer, and let the wife escape. This more stable option was already laid out in a 1937 English film, Love from which would be the thesis personal a Stranger , which was surely known to Hitchcock. Adapted from Frank Vosper’s play 60, it presents Carol, who throws aside her loyal suitor Ronald for the charming Gerald Lovell. She marries Gerald and at first enjoys their life in an isolated cottage. But his sudden rages and essay titles gcse, his secretiveness about would be the personal essay, his photographic “experiments” make her worry. Breaking with Carol’s range of knowledge about and juliet gcse, halfway through the film, the narration shows Gerald in the cellar burning a photograph of her. Soon we learn that his interest in historical murders is one expression of a battlefront trauma that will drive him to kill her. Gradually Carol’s suspicions crystallize.

In a drunken fit Gerald tells her how he trapped her, but before he can kill her she manages to poison his coffee. He collapses and Ronald arrives in time to console a sobbing Carol. Ronald plays a secondary role in Love from a Stranger . He doesn’t rescue Carol but merely offers her an alternative partner at the end. Hollywood’s later versions of the ways to start plot turned the other man into what Diane Waldman has called a “helper male”a figure who can save the heroine and romeo and juliet titles, supply a romantic alliance once the murderous husband has been eliminated. 61 But Hitchcock presumably could not radically revise Rebecca or Suspicion to provide a helper male, so the resolutions had to end in impasse. Interestingly, when Hamilton’s play Gaslight made it to film in the U.S. (1944), the plot was recast to make the inspector an appropriate suitor for the rescued wife. Apart from lacking helper males, Rebecca and Suspicion posed problems of narration. Love from gcse a Stranger provided a wide frame of knowledge. And Juliet Titles Gcse! By cutting between scenes displaying Gerald’s madness and scenes of the unsuspecting Carol, Vorhaus’s film generates classic suspense. In contrast, both Rebecca and Suspicion confine us so tightly to big transition words for essays the heroine’s viewpoint that the ultimate revelations seem evasive or forced. The problems with these two films point up a more general tension within Hitchcock’s aesthetic.

Restriction to what a character knows enhances mystery (and can engender surprise), but suspense, he maintained, comes when we know more than the character. Essay Gcse! 62 The best compromise is when our knowledge exceeds the character’s by a little, but not so much that we know everything. Hence the moments that fall outside Jeff’s range of knowledge in Rear Window , the judicious inserted scene of the to keep clean agency meeting in romeo and juliet gcse, North by Northwest , and other instances in which Hitchcock slightly widens our range of knowledge, often in a teasing way. 63 An anonymous reviewer for the London Times caught this strategy in Sabotage : Hitchcock will usually “lay most of his cards on the table.” 64. With Shadow of a Doubt , Hitchcock and Thornton Wilder solved the difficulties of the two earlier women-in-peril films.

A freer range of narration allows suspense to ways in an build: the opening man-on-the-run episode, confined largely to Uncle Charlie, segues into a section that centers on essay, what Young Charlie suspects and re coursework gcse, eventually discovers. In accordance with Mitchell Wilson’s anatomy of the romeo and juliet gcse suspense plot, she takes the initiative and turns on her tormentor, forcing him to leave town. Prompts Argument! Although much of this portion is focused around Young Charlie, though, we get glimpses of Uncle Charlie on his own. In addition, Shadow of essay titles, a Doubt supplies a helper male, the gre essay police investigator Jack Graham. Although Hitchcock dismissed the character as a concession to romance, 65 and although Jack doesn’t rescue Young Charlie during the climactic sequence on the train, he provides a stable resolution, mitigating a little the devastation that Young Charlie feels.

Hitchcock, then, offered other filmmakers both models of what to do and romeo titles gcse, what to avoid. An Introduction! But it seems to me that the burst of and juliet titles gcse, psychological suspense films at all budget levels left him less room to prompts innovate. Many variations were emerging; the romeo and juliet essay titles gcse space was getting crowded. Women-in-peril plots featuring murderous husbands had become commonplace, and they often displayed skilful use of ways an introduction in an, restricted point of view, as in Sorry, Wrong Number (1948). There were even “Hitchcockian” movies avant la lettre : The crime inadvertently witnessed, the premise of Rear Window , was tried out in romeo and juliet gcse, Lady on a Train (1945), in Shock (1946), and of pi essay topics, perhaps most vividly in Ted Tetzlaff’s The Window (1949), in which a tenement boy sees a stabbing but can’t convince anyone of it. In short, with so many films mimicking Hitchcock’s, and so many variants of basic suspense situations proliferating, how was he to maintain his cinematic identity? In Spellbound (1945) he led the way to romeo titles gcse a burst of talking-cure films. He and Ben Hecht blended his favored woman-in-peril situation with spy intrigue in Notorious (1946), making the life of pi topics helper male into a rival suitor from the start and organizing part of the plot around his range of knowledge. Romeo And Juliet Essay Titles! For other projects Hitchcock seemed to strain to for essays find something highly distinctive, either dramatically or technically. A contract-fulfilling job, the courtroom drama The Paradine Case (1948) posed appetizing technical challenges, but Selznick’s interference dominated the romeo results. It seems to me that the re coursework gcse proliferation of and juliet essay gcse, suspense films was one cause of life of pi essay topics, Hitchcock’s shift to essay titles more outré angles for his projects: increased sexual explicitness ( The Paradine Case, Rope ), provocative drama of ideas ( Lifeboat, Rope ), confinement to a single setting ( Lifeboat, Rope ), long-take shooting ( Paradine Case, Rope, Under Capricorn ), and duplicitous flashback ( Stage Fright ). Significantly, in his interviews with Truffaut, Hitchcock found fault with nearly all these experiments, suggesting that Under Capricorn left the realm of the thriller altogetherdespite the fact that it presents a familiar woman-in-a-threatening-household situation.

Having helped set the terms for thriller storytelling in the 1940s, he was obliged to words recalibrate what he could offer in the face of competition. 66. At the end of the decade, I think, Hitchcock had managed to essay titles gcse re-synchronize with his contemporaries. Prompts Argument! Most of romeo essay, his 1940s projects, finished and unfinished, have their sources in literary works of the 1920s and of pi topics, 1930s. Stage Fright came from a recent novel, but one very much in the 1930s English detective-story tradition. 67 Strangers on a Train (1950), however, was based on a male-oriented psychological thriller written by one of the romeo and juliet women participating in the 1940s burst of suspense fiction. Despite making some compromises in adapting Patricia Highsmith’s original, 68 the following be the thesis statement master of and juliet essay titles gcse, suspense had allied himself with a writer who typified the new phase of the suspense thrillera phase that he had done much to foster. 69.

I’m indebted to Sidney Gottlieb, Richard Allen, and Thomas Leitch, who provided helpful criticisms of an earlier version of this essay. Thanks also to David Meeker, who provided access to life of pi a hard-to-find film. 1 : Mitchell Wilson, “The Suspense Story,” The Writer 60, 1 (January 1947), 15. 3 : Howard Haycraft, “Evolution of the Whodunit in the Years of and juliet titles gcse, World War II ,” New York Times Book Review (12 August 1945),” 7. 4 : Helen McCloy, “The Writing and Selling of Mysteries,” The Writer 60, 4 (April 1947), 137. 5 : Charlotte Armstrong, “Razzle-Dazzle,” The Writer 66, 1 (January 1953), 34. 6 : Freeman Wills Crofts, The 12:30 from Croydon (Harmondsworth: Penguin, 1965), 187. 7 : Dorothy L. For Essays! Sayers, “Introduction,” The Third Omnibus of Crime (New York: Blue Ribbon, 1935), 7. 8 : Agatha Christie, Towards Zero (New York: Pocket Books, 1972; orig. 1944), 1213. 9 : Howard Haycraft, Murder for gcse Pleasure: The Life and Times of the Detective Story (New York: Appleton-Century, 1941), 89.

10 : Quoted in Haycraft, 90. 11 : François Truffaut, Hitchcock (New York: Simon and Schuster, 1967), 127. 12 : “Chaplin in ‘Circus’ a London Sensation,” New York Times (16 March 1928), 30. 13 : Some of these plays can still be read in acting editions. For a generous overview of them and many others see Amnon Kabatchnik, Blood on to keep our city clean, the Stage 19251950: Milestone Plays of Crime, Mystery, and and juliet essay titles gcse, Detection (Lanham, MD: Scarecrow Press, 2010). 14 : Quoted in re coursework gcse, Sean French, Patrick Hamilton: A Life (London: Faber and Faber, 1993), 139. 15 : For example, The State v. Elinor Norton , reviewed in John Chamberlain, “Books of the Times,” New York Times (29 January 1934), 13; Poison Pen , reviewed in Richmond Theatre, The Times (London) (10 Aug. 1937): 8; “Detective Stories: Death Has a Past ,” The Times (London) (6 June 1939), 19. 16 : Boileau-Narcejac, Le roman policier (Paris: Payot, 1964), 150154.

17 : Charles Morgan, “Mr. Milne Tries a New Trick with a Mystery Play,” New York Times (25 March 1928), 119. 18 : For much of and juliet essay, what follows, I’m indebted to LeRoy L. Panek’s acute, entertaining study The Special Branch: The British Spy Novel, 1890-1980 (Bowling Green: Bowling Green University Popular Press, 1981), especially chapters 112. 19 : Alice Payne Hackett, Sixty Years of Bestsellers 18951955 (New York: Bowker, 1956), 1233. 20 : I review this history from a slightly different angle in “I Love a Mystery: Extra-credit reading,” a blog entry. For stimulating and nonconformist accounts of the development of detective fiction, see LeRoy Lad Panek’s books Watteau’s Shepherds: The Detective Novel in Britain 19141940 (Bowling Green: Popular Press, 1979) and An Introduction to the Detective Story (Bowling Green: Popular Press, 1987). 21 : Janice Radaway, Reading the Romance: Women, Patriarchy, and Popular Literature (Chapel Hill: University of North Carolina Press, 1984), 3031. 22 : Lee Wright, “Mysteries Are Books,” Publishers Weekly 139 (25 January 1941), 385. In 1946 James Sandoe estimated that mysteries constituted one-quarter of all book-length fiction published in the United States. See “Dagger of the Mind” in The Art of the Mystery Story , ed. Gre Essay Argument! Howard Haycraft (New York: Simon and essay, Schuster, 1946), 254.

For more figures, see Frank Gruber, “Some Notes on Mystery Novels and essay on how our city, Their Authors,” in The Notebooks of Raymond Chandler , ed. Frank Gruber (New York: Ecco Press, 1976), 3334. 23 : Flyleaf blurb for Mitchell Wilson’s The Panic-Stricken (New York: Simon and Schuster, 1946). 24 : “RadioGeneral Markets,” The Writer 64, 1 (January 1951), 58. 25 : Howard Haycraft, “The Burgeoning Whodunit,” The New York Times (6 October 1946), BR3BR4. 26 : Anthony Boucher, “Trojan Horse Opera,” in Haycraft, Art of the Mystery Story , 249. 27 : Alice Payne Hackett, Fifty Years of Bestsellers (New York: Bowker, 1945), 7778. 28 : Richard Mealand suggested that novelists working in the psychological thriller gained a wider readership because of the film trend. And Juliet Titles! See “Hollywoodunit,” in Haycraft, Art of the Mystery Story , 301303. 29 : Raymond Chandler, letter to Hamish Hamilton (13 Otober 1950), in Raymond Chandler Speaking , ed.

Dorothy Gardiner and Kathrine Sorley Walker (Plainview, NY: Books for Libraries Press, 1971; orig. 1962), 60. 30 : Anonymous, “New Trend in the Horror Pix,” Variety (16 October 1944), 143. 31 : Fred Stanley, “Hollywood Shivers,” New York Times (28 May 1944), X3. 32 “New Trend in the Horror Pix,” 143. 33 : See Sayers, “Introduction,” Third Omnibus of Crime , 6; Bruce Hamilton, Middle Class Murder (Leipzig: Tanschnitz, 1938; orig. 1936). 34 : Hollywood, The Dream Factory: An Anthropologist Looks at the Movie-Makers (Boston: Little, Brown, 1950), 119, 140.

See also Stanley, “Hollywood Shivers,” X3. 35 : Howard Haycraft, “Evolution of the Whodunit in big transition, the Years of World War II ,” New York Times Book Review (12 August 1945),” 7. 36 : Anonymous, “Movie Companies Look to romeo essay gcse Detective Story Writers for the New Psychological Film,” Publishers Weekly 149 (9 March 1946), 15151516. 37 : Anthony Boucher, “As Crime Goes By (24 February 1946),” The Anthony Boucher Chronicles: Reviews and Commentary 19421947 , ed. Francis M. Nevins (Lexington, KY: Ramble House, 2001), 102. 38 : “New Films in London,” The Times (London), 25 May 1936, 12. 39 : See Tom Ryall, Alfred Hitchcock and gre essay prompts argument, the British Cinema (London: Croom Helm, 1986) and Robert Murphy, “Dark Shadows around Pinewood and Ealing,” Film International no. 7 (2004), 2835. 40 : On his fondness for Buchan and Belloc Lowndes, see Charles Barr, English Hitchcock (London: Movie, 1999), 1014. 41 : Patrick McGilligan, Alfred Hitchcock: A Life in Darkness and Light (New York: HarperCollins, 2003), 212. 42 : Alfred Hitchcock, Introduction, Intrigue: Four Great Spy Novels of Eric Ambler (New York: Knopf, 1943), viiviii.

43 : “ Foreign Correspondent ,” Variety (28 August 1940), 16; Philip K. Scheuer, “A Town Called Hollywood,” Los Angeles Times (7 April 1940), C3; advertisement for Rebecca , Variety (24 April 1940), 21; advertisement for romeo essay titles Shadow of a Doubt , Variety (19 January 1943), 4; advertisement for Lifeboat and Spellbound , Variety (23 February1945), 12. Words! Supposedly the “master of suspense” label was coined by a New York advertising agent promoting the Suspense radio pilot (McGilligan, Alfred Hitchcock , 276). 46 : New York Herald Tribune review quoted in advertisement for The Fallen Sparrow , Variety (19 October 1943), 5. 47 : Philip K. And Juliet Essay Gcse! Scheuer, “Trio Gives Horror Picture New Dress,” Los Angeles Times (28 March 1943), C3; and Radie Harris, “Hollywood Runaround,” Variety (11 September 1945), 4. Which Be The Best! The Disney film Harris mentions is Make Mine Music , in which the essay Johnny Fedora and on how and green, Alice Blue Bonnet episode is said to contain suspense “as breathless as a Hitchcock thriller.” 48 : Philip K. Scheuer, “Killer Stalks Ida Lupino in High-Tension Thriller,” Los Angeles Times (30 January 1950), A7. 49 : Sidney Gottlieb surveys Hitchcock’s branding strategies, some quite amusing, in gcse, “Step Seventeen: Brand Hitchcock,” in 39 Steps to gre essay prompts the Genius of Hitchcock: A BFI Compendium (London: British Film Institute, 2012), 7277. 50 : Alfred Hitchcock, “Let ‘Em Play God,” Hollywood Reporter 100, no. 47 (11 October 1948), reprinted in Hitchcock on Hitchcock , ed. Sidney Gottlieb (Berkeley: University of and juliet essay titles gcse, California Press, 1995), 113. 51 : Hitchcock, “Introduction: The Quality of Suspense,” Alfred Hitchcock’s Fireside Book of Suspense (New York: Simon and ways an introduction in an, Schuster, 1947), viii.

This edited collection originally appeared as Suspense Stories Selected by Alfred Hitchcock (New York: Dell, 1945), but the introduction to that edition lacks the passages I’ve cited here. 53 : William Fifield, “To the Golden Corn,” The Writer 62, 8 (August 1949), 259. 54 : William Dozier, “Trends and Perspectives,” Writers’ Congress; The Proceedings of the Conference Held in October 1943 under the Sponsorship of the Hollywood Writers; Mobilization and the University of California (Berkeley: University of essay titles gcse, California Press), 3641. 55 : “ Man Hunt ,” Variety (10 June 1941), 13. See also the New York Times review in life topics, which Lang is called “a master of romeo gcse, concentrated suspense” (T. S., “ Hangmen Also Die ,” New York Times [16 April 1943], 24). 56 : Quoted in Philip K. Scheuer, “Film History Made by ‘Double Indemnity,’” Los Angeles Times (6 August 1944), C1. 57 : Philip K. Prompts Argument! Scheuer, “Suspense Filmed in a New Way: Stride Made in romeo gcse, Technique,” Los Angeles Times (3 September 1944), C1. 58 : I discuss this sequence, and link to of the be the thesis statement personal the scene, in a blog entry.

60 : The play’s source is an Agatha Christie short story, “Philomel Cottage.” It does include a rival suitor, although he isn’t much help to the heroine. Interestingly, Christie’s story turns on the revelation that the husband isn’t the only practitioner of hearthside murder. 61 : Diane Waldman, “Horror and Domesticity: The Modern Gothic Romance Film of the romeo essay gcse 1940s,” Ph. D. thesis, University of WisconsinMadison, 1981, 556. 62 : On restriction to of pi essay topics a single character, Hitchcock notes that he avoids the romeo omniscient range of to start an introduction in an, knowledge provided by Griffith-style crosscutting: “Griffith showed the romeo gcse man on the scaffold, then the re coursework messenger with the pardon riding to the rescue. We show the man on the scaffold, but the audience doesn’t know whether our rider has started or not. That’s the romeo and juliet titles secret of suspense today.” Quoted in Philip K. Scheuer, “A Town Called Hollywood,” Los Angeles Times (19 April 1939), C3. The more famous formulation of the alternative is prompts, found in his dialogue with Truffaut: “In the usual form of suspense it is indispensable that the public be made perfectly aware of romeo and juliet titles gcse, all the facts involved” (Truffaut, Hitchcock , 51). 63 : I discuss these fluctuations in knowledge in Narration in the Fiction Film (Madison: University of Wisconsin Press, 1985), 2961. On North by Northwest , see David Bordwell and Kristin Thompson, Film Art: An Introduction (New York: McGraw-Hill, 2012), 406410.

64 : “New Films in London,” The Times (London) (7 December 1936), 12. 65 : McGilligan, Alfred Hitchcock , 310. 66 : I propose that competition played a more specific role in Hitchcock’s experiments with long-take filming at a period when many directors were trying out this technique. See my essay “Poetics of ways to start in an, Cinema,” in Poetics of Cinema (New York: Routledge, 2008), 3242. 67 : On Hitchcock’s literary sources, see the essays in Hitchcock at the Source: The Auteur as Adapter , ed. R. Barton Palmer and David Boyd (Albany: SUNY Press, 2011).

68 : In her essay “Suspense in Fiction” ( The Writer 67, 12 [December 1954], 404), Patricia Highsmith recalls that when her novel was filmed, “the director” (Hitchcock is romeo and juliet essay titles gcse, never named) told her that he had to alter the plot so that Guy did not commit the murder that he owed Bruno. Words For Essays! “He told me that he had been unable to find a script writer who could make the story convincing, or who could put the story into form for and juliet essay the screen.” Yet for Highsmith the words for essays key to the story was that second, coerced murder: “Only therein lay the essay titles gcse drama and the suspense for me.” The result, Highsmith judged, was a weaker story. 69 : For more on the development of suspense films and thrillers, see Martin Rubin, Thrillers (Cambridge: Cambridge University Press, 1999); Ralph Harper, The World of the Thriller (Baltimore: Johns Hopkins University Press, 1969); Jerry Palmer, Thrillers: Genesis and Structure of a Popular Genre (London: Edward Arnold, 1978); Charles Derry, The Suspense Thriller: Films in the Shadow of Alfred Hitchcock (Jefferson, NC: McFarland, 1988); Thomas Leitch, Crime Films (Cambridge: Cambridge University Press, 2002). A more recent, if sketchy and erratic, study is Patrick Anderson, The Triumph of the Thriller: How Cops, Crooks, and Cannibals Captured Popular Fiction (New York, 2007). An encyclopedic guide to mystery fiction and film is Mike Grost’s website. have comments about the state of this website? go here.