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In literature, films, television, and plays, suspense is a major device for securing and maintaining interest. It may be of several major types: in one, the outcome is uncertain and the suspense resides in the question of who, what, or how; in another, the outcome is inevitable from foregoing events, and the suspense resides in the audience's anxious or frightened anticipation in the question ...
The suspense element found in most films' plots is particularly exploited by the filmmaker in this genre. Tension is created by delaying what the audience sees as inevitable, and is built through situations that are menacing or where escape seems impossible. [2]
According to Greek philosopher Aristotle in his book Poetics, suspense is an important building block of literature, and this is an important convention in the thriller genre. [7] Thriller music has been shown to create distrust and ominous uncertainty between the viewer of a film and the character on screen at the time when the music is ...
The writer may implement foreshadowing in many different ways such as character dialogues, plot events, and changes in setting. Even the title of a work or a chapter can act as a clue that suggests what is going to happen. Foreshadowing in fiction creates an atmosphere of suspense in a story so that the readers are interested and want to know more.
There is some overlap with "thriller" or "suspense" novels and authors in those genres may consider themselves mystery novelists. Comic books and graphic novels have carried on the tradition, and film adaptations or the even-more-recent web-based detective series, have helped to re-popularize the genre in recent times.
By delaying this outcome, the writer can create suspense in the viewer. By creating suspense, the writer can heighten emotional arousal and, therefore, heighten enjoyment of the narrative. In summation, by creating a strong disposition towards characters, a writer can heighten the audience's enjoyment of the narrative.
The exciting force leads to the rise, the tragic force leads to the return or fall, and the force of the final suspense leads to the catastrophe. Freytag considers the exciting force to be necessary but the tragic force and the force of the final suspense are optional. Together, they make the eight component parts of the drama. [38]
The MacGuffin is frequently only vaguely defined, and it can be used to increase suspense. [12] Red herring – The term was popularized by William Cobbett and is defined as a kind of fallacy that is an irrelevant topic introduced to divert the attention of the audience. A red herring is used to lead the audience to make false assumptions and ...