Seen in the contrast between black and white in both scenery and characters, it acts as an intensifier of emotion; the extremes of the shadow play on the extremes of morality, good and evil, the known and the unknown. Dark shadows serve as unsettling spaces, voids of unfamiliarity, of moral ambiguity, of uncertainty in which the less attractive aspects of society live. Light only brings out the darkness. The actors in Caligari are given Poe-style makeup - heavy eyeliner, dark eyeshadow and very white skin - which exaggerates the characters' emotions. It made the mesmerizing eyes of Cesare, the sleepwalker, even more entrancing; the lines on Dr. Caligari's forehead became more menacing once defined. Later expressionist films achieved this effect through lighting techniques, but a low budget (or eccentric artistry) meant that these shadows were painted onto the architecture. This gave a stark and clear distinction that added to the surreal atmosphere of Caligari's tale. In the more realistic Kammerspielfilm - expressionistic properties of The Last Laugh, elements of chiaroscuro are seen in atmospheric lighting and framing devices; furthermore, the use of flashlights to attract attention in the darkness or to focus attention on the characters' faces recurs several times; and that is, as seen above, when the goalkeeper (Emil Jannings) is told that he will be replaced due to a