Before and during the Weimar Republic era, German Expressionist filmmakers would significantly influence later productions.Paul Wegener's The Student of Prague (1913) and The Golem trilogy (1915–20), as well as Robert Wiene's The Cabinet of Dr.A horror film is a movie that seeks to elicit a physiological reaction, such as an elevated heartbeat, through the use of fear and shocking one’s audiences.
Ingram's The Magician (1926) contains one of the first examples of a "mad doctor" and is said to have had a large influence on James Whale's version of Frankenstein.
The Unholy Three (1925) is an example of Browning's use of macabre and unique style of morbidity; he remade the film in 1930 as a talkie, though The Terror (1928) was the first horror film with sound.
Considered a "pulp masterpiece" of the era was The Incredible Shrinking Man (1957), based on Richard Matheson's existentialist novel.
The film conveyed the fears of living in the Atomic Age and the terror of social alienation.
The trend of inserting an element of macabre into American pre-horror melodramas continued into the 1920s.
Directors known for relying on macabre in their films during the 1920s were Maurice Tourneur, Rex Ingram, and Tod Browning.
The Mummy (1932) introduced Egyptology as a theme; Make-up artist Jack Pierce was responsible for the iconic image of the monster, and others in the series.
Universal's horror cycle continued into the 1940s with B movies including The Wolf Man (1941), as well as a number of films uniting several of the most common monsters. The once controversial Freaks (1932), based on the short story "Spurs", was made by MGM, though the studio disowned the completed film, and it remained banned, in the United Kingdom, for thirty years.
Christopher Lee starred in numerous British horror films of the era, produced by Hammer Films. It was Lee who fixed the image of the fanged vampire in popular culture.