swith peep-show arcades which film historian Tom Gunning described as "the cinema of attractions". These films provided early novelty-oriented shorts that provided surprise, amazement, laughter, or sexual stimulation with no narrative. The sensation of motion in these early films was later input into a framework known as the "chase film" which came into prominence in 1903.These films were often produced in Britain and France and employed minimal narrative for an extended chase scene that led to one of the most commercially celebrated American films of the period with The Great Train Robbery (1903). Elements of heist films are seen in the film, with its depictions of ingeniously planned robberies, as well as the thriller's central emphasis on accelerated motion. Chase films were limited in scope, but their emphasis on the chase sequence would extended into film in the future such as On Her Majesty's Secret Service (1969), Vanishing Point (1971), and Speed (1994). The period between 1907 and 1913 solidified the film industry's domination of narrative filmmaking, predominantly with D.W. Griffith's films which Rubin described as refining for "enhancing suspense, psychological depth, and spatial orientation." Griffith's applied techniques such as cross-cutting to enhance suspense in film such as The Girl and Her Trust (1912), which also applied psychological context for the actions. Film serials, featuring stories broken up into a number regularly scheduled episodes expanded on the suspense-educing devices of the earlier chase films. Originally published in newspapers, as fictional story installments, the Chicago Tribune came upon the idea in 1913 to by running serialized stories in both newspapers and film versions. This led to The Adventures of Kathlyn, a serial in 13 parts which was a grand success and led to the newspaper developing The Million Dollar Mystery which was even more successful. Serials often ended with cliffhangers, an element that led to thrillers tendencies to break up into a series of self-enclosed set pieces. Film serials were later produced in Europe, with French directors such as Louis Feuillade who previously worked making chase films to later making serials based on novels about master criminals, such as Fantômas (1913) and Les Vampires (1915). Outside of France, the most significant venue for serials in Europe was Germany with Fritz Lang who wrote serials like The Mistress of the World (1919) and later directorial efforts like The Spiders (1919). Lang would later make films similar to those of Feuillade with his