The effect of "Caligari" was felt not just in German cinema, but internationally as well. Both Rotha and film historian William K. Everson wrote that the film probably had as much of a long-term effect on Hollywood directors as "Battleship Potemkin" (1925). In his book "The Film Til Now", Rotha wrote that "Caligari" and "Potemkin" were the "two most momentous advances in the development of the cinema", and said "Caligari" "served to attract to the cinema audience many people who had hitherto regarded the film as the low watermark of intelligence". "Caligari" influenced the style and content of Hollywood films in the 1920s and early 1930s, particularly in films such as "The Bells" (1926), "The Man Who Laughs" (1928) and "Murders in the Rue Morgue" (1932), and had a major influence on American horror films of the 1930s, some of which featured an antagonist using Caligari-like supernatural abilities to control others, such as "Dracula" (1931), "Svengali" (1931) and "The Mad Genius" (1931). Kaes said both "Caligari"'s stylistic elements, and the Cesare character in particular, influenced the Universal Studios horror films of the 1930s, which often prominently featured some sort of monster, such as "Frankenstein" (1931), "The Mummy" (1932), "The Black Cat" (1934), and "Bride of Frankenstein" (1935). The Expressionism of "Caligari" also influenced American avant-garde film, particularly those that used fantastic settings to illustrate an inhuman environment overpowering an individual. Early examples include "The Fall of the House of Usher" (1928), "The Last Moment" (1928) and "" (1928). LoBrutto wrote, "Few films throughout motion picture history have had more influence on the avant-garde, art, and student cinema than "Caligari"".