by expressionism. These detective films often overlapped with film noir, which arose in the mid-1940s and was coined by French critics in 1946. The style was not acknowledge by American filmmakers, critics or audiences while these films were being developed until the 1970s. Early films considered as harbingers of the movement include Fritz Lang's You Only Live Once (1937), the b-film Stranger on the Third Floor (1940) and I Wake Up Screaming (1941) and the first universally acknowledged major film noir with Billy Wilder's Double Indemnity. During the 1940s, due to filmmaker's participation in making war documentaries and the audience's growing familiarity with these films as being gritty and fact-based, and the influence of other foreign movements such as Italian neo-realism, Hollywood began developing crime films with pictures like The House on 92nd Street and Call Northside 777 (1947) and the most acclaimed of these films with The Naked City (1948) which re-created a police manhunt for a brutal killer. These films were shot in actual locations opposed to studio sets. These films eventually began toning down their factuality to be applied to more noir styles, such as with Kiss of Death (1947), The Street with No Name (1948), and He Walked by Night (1949). Rubin found that placing these films in actual locations increased the tension of the ordinary world opposed to the limited confines of the studio sets. Further spy films were made, including The House on 92nd Street which now encompassed anti-communist themes that was inaugurated with films like The Iron Curtain (1948). These film heavily drew on 1930s gangster film conventions, with the American branch of the communist parties being depicted like a gangster organization. This cycle continued into the 1940s with I Was a Communist for the FBI (1951), The Red Menace (1949), and Samuel Fuller's Pickup on South Street (1953). 1950s Crime was the significant focus of thrillers in the 1950s. The more realistic crime films of the 1940s and film noir merged into films about police detectives thrillers. Unlike the more clean-cut police officers of the 1940s realistic films, these films often had the police officer following darker paths. These included The Man Who Cheated Himself (1951), The Prowler (1951), Pushover (1954). A smaller wave of similar police thrillers had the police detective having moral weakness, but excessiveness. These included Where the Sidewalk Ends (1950), On Dangerous Ground (1952), The Big Heat (1953).