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characters and the audiences confront, they acknowledge that it is real and returning. In

doing so, the possibility for transcendence is reached, just as the line for escape in Kafka

is drawn by the presence of the becoming-animal in his short stories. Unfortunately, the

possibility of escape, of expression instead of content, of the avoidance of the triangles

and machines of society, was a limited one; the arrival of horror eclipsed it and

reterritorialized it from the beginning, slowly usurping its power to transgress until the

tools of Expressionism became another part of the machinery of desire that encapsulated

existence to begin with.

 The reterritorialization that is almost inevitable in the becoming-animal arises for

 the Expressionists as well. In their films, they are trying to find the becoming-animal

 escape that the insane man takes when he disconnects from society, but they are unwilling

 to abandon form in favor of expression, the very method that Deleuze and Guattari see in

 Kafka's attempts. Like Gregor (and Kafka?), and unlike the Surrealists, the

 Expressionists are not willing to completely abandon the signifier. Passion does reign

 king, but it is accountable to its queen, its content. It is that split, that unwillingness to

 completely deterritorialize that gives horror film, the representative of the triangles of the

 status quo-normalcy, psychiatry, and all the other structures-its chance to appropriate the

 tools and subvert the attempt at escape.

 One such reterritorialization comes in the pinnacle of the films discussed here,

 The Cabinet of Dr. Caligari. This film, both the quintessential Expressionist film and

 "the grand daddy of all horror films" has, in its inception, an example of the very inability

 to escape that Deleuze and Guattari saw within Kafka's stories. While Francis and