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infect others, as Dr. Mabuse does in the film. It is the most horrifying of the three faces

of the Other. Coates identifies those faces as "visibly nonhuman ... semihuman ... and

visually identical with a human being .... The third category-that in which the monster

resembles ourselves-is the most uncanny and genuinely terrifying of the three"(85-6).

While Coates does not mention the madman in his discussion of that third face, it seems

to be the most aptly part of the category. The insane man is the horror film becoming-

animal that is not easily identified. Nevertheless, it is, in Deleuzian terms, trying to

escape and subvert the triangles and machinery of power; those very triangles will

constantly try to reterritorialize themselves to include and cut short any escape attempted

by those becoming-animals.

 The insane man in the horror film and, in fact, the horror film itself are both

 products of that reterritorialization, of that attempt by the triangles of power to preclude

 any escape from the system by way of Expressionist films. That reterritorialization is the

 reason that Expressionism, the method by which those artists tried to deal with the

 systems of power in post-war Germany, was adopted by horror. By adopting the

 emotionally evocative methods of Expressionist art, the horror genre could better tap into

 a burgeoning market for "terror-films" in 1920's German cinema. At the same time, the

 horror genre acted as a way to subvert the revolutionary and, as Deleuze and Guattari

 have pointed out, necessarily political "minor literature" that Expressionism embodied in

 its attempt to negotiate another path for escape from the threatening national currents of

 nationalism and fascism.