Europeanized settings and villains led to what Rubin described as a "growing uneasiness towards Europe" Such anxieties were directly registered with spy thriller films, that were previously marginalised but grew as the tensions of the 1930s and the outbreak of World War II. The genre grew into popularity in Great Britain in the mid-1930s with the output of the countries leading filmmaker Alfred Hitchcock. Between 1934 and 1938, Hitchcock directed five spy thrillers: The Man Who Knew Too Much (1934), The 39 Steps (1935), Secret Agent (1936), Sabotage (1936), and The Lady Vanishes (1938). Along with Lang's output of the period, Rubin stated that Hitchcock became a "top rank" filmmaker specialising in the classical film thrillers, opposed to his prior output, which only sporadically included films that could be considered thrillers. Compared to Lang, Hitchcock approach to the spy thriller was described by Rubin as "less abstract, less epic" with "a greater emphasis on individual psychology and subjective points of view" while Lang's primary focus was on "the structure of the trap", Hitchcock's was on the "mental state of the entrapped." The first major American spy thriller of the World War II era was Confessions of a Nazi Spy (1939). After relocating to the United States, Hitchcock continued his attachment to spy films with films like Foreign Correspondent (1940) and Saboteur (1942). Despite having these films exist beyond the cityscapes of the thriller genre, they do not deploy the adventure nature of The Adventures of Kathlyn or The Spiders usually lacking in exaggerated methods of transport, such as parachute drops, safaris, submarines, or even high-speed chases. 1940s Like the spy film, another genre that grew popular due to the war-generated phenomena in the early to mid-1940s saw the rise of thrillers centered around various phases of crime films such as the rise in popularity of detective films. These ranged from B-film detectives such as Michael Shayne, The Falcon, Boston Blackie, the Crime Doctor as well as modernize Sherlock Holmes stories having him battle Nazis. These smaller budget films led to more major productions such as John Huston's The Maltese Falcon (1941) while Murder, My Sweet (1944) introduced the character Philip Marlowe to film. Marlowe would appear again in The Big Sleep (1946) while other films Ruben deemed as notable detective mysteries included Laura (1944). These detective films drew upon thriller and thriller-related genres with their nocturnal atmosphere and style influenced