Caligari both disconnect themselves from the societies they live in, they both fail to

escape as well. Both are locked in the asylum, either in the framing device itself or in the

story told by Francis. Either way, the becoming-animal man has failed to escape; instead

he was physically recaptured and, in Dr. Caligari's case, reformed into a territorialized

character by the very real outside forces that regulate both the digetic world of the film

and the world of the film makers. After all, though the film may have been conceived as

a successful escape story, it could not be. For not only does the original becoming-man,

Dr. Caligari, get caught in the original inception of the story-leaving just a social

commentary about the dangers of nationalism and conformity-but the original storyteller

is also caught by the director and forced back into the triangle, thus subverting the

"message" of the film while, at the same time, stopping any chance of the becoming-

animal's escape.

 As the Expressionist film vanished in the early 1920's, we see the becoming-

 animal changed from a man trying to escape into a man reviled. The formerly empathetic

 and even sought-after character becomes the villain. For example, just two years after

 Caligari is Nosferatu, in which we have two uncanny characters, the becoming-animal,

 Knock, and the becoming-man, Count Orloff. Neither are given much sympathy, though

 Knock is generally seen as harmless until he attacks a guard. Nonetheless, they are both

 seen as horrible Others, only vaguely related to their human audience.

 By the early 1930's, when The Testament of Dr. Mabuse is released, the tools of

 Expressionism no longer create a path of escape for the becoming-animal. Instead, it is

 demonized from the beginning, a dark side of mankind that should be locked away, lest it