the 1920s and 1930s, resulting in an artistic control over the placement of scenery, light, etc. to enhance the mood of a film. This dark, moody school of film making was brought to the United States when the Nazis gained power and many German film makers emigrated to Hollywood. Several German directors and cameramen flourished in Hollywood, producing a repertoire of films that had a profound effect. Nazi film theorist Fritz Hippler was a supporter of expressionism. Two further films produced in Nazi Germany using the expressionist style were The Animal of Steel (Das Stahltier, 1935) by Willy Zielke and Michelangelo. The Life of a Titan (Das Leben eines Titanen, 1940) by Curt Oertel. Two genres that were especially influenced by Expressionism are horror film and film noir. Carl Laemmle and Universal Studios had produced horror films of the silent era, such as Lon Chaney's The Phantom of the Opera. German film makers such as Karl Freund (the cinematographer for Dracula in 1931) set the style and mood of the Universal monster movies of the 1930s with their dark and artistically designed sets, providing a model for later generations of horror films. Directors such as Fritz Lang, Billy Wilder, Otto Preminger, Alfred Hitchcock, Orson Welles, Carol Reed and Michael Curtiz introduced the Expressionist style to crime dramas of the 1930s and 1940s, expanding Expressionism's influence on modern film making. Influence and legacy German silent cinema was arguably far ahead of Hollywood during the same period. Cinema outside Germany benefited both from the emigration of German film makers and from German expressionist developments in style and technique that were apparent on the screen. The new look and techniques impressed other contemporary film makers, artists and cinematographers, and they began to incorporate the new style into their work. In 1924, Alfred Hitchcock was sent by Gainsborough Pictures to work as an assistant director and art director at the UFA owned Babelsberg Studios in Potsdam near Berlin on the film The Blackguard. The immediate effect of the working environment in Germany can be seen in his expressionistic set designs for that film. Hitchcock later said he "acquired a strong German influence by working at the UFA studios". German Expressionism would continue to influence Hitchcock throughout his career. In his third film, The Lodger, Hitchcock introduced expressionist set designs, lighting techniques, and trick camera work to the British public against the wishes of his