While few other purely Expressionistic films were made, "Caligari" still had a major influence over other German directors, and many of the film's Expressionist elements – particularly the use of setting, light and shadow to represent the dark psychology of its characters – became prevalent in German cinema. Among the films to use these elements were Murnau's "Nosferatu" (1922) and "The Last Laugh" (1924), G. W. Pabst's "Secrets of a Soul" (1926), and Lang's "Metropolis" (1927) and "M" (1931). The success of "Caligari" also affected the way in which German films were produced during the 1920s. For example, the majority of major German films over the next few years moved away from location shooting and were fully filmed in studios, which assigned much more importance to designers in German cinema. Robinson argues this led to the rise of a large number of film designers – such as Hans Dreier, Rochus Gliese, Albin Grau, Otto Hunte, Alfred Junge, Erich Kettelhut and Paul Leni – and that effect was felt abroad as many of these talents later emigrated from Germany with the rise of the National Socialist German Workers Party. Additionally, the success of "Caligari"'s collaborative effort – including its director, set designers and actors – influenced subsequent film production in Germany for many years, making teamwork a hallmark of German cinema in the Weimar Republic.