The predominating theme expressed in Robert Wiene's The Cabinet of Dr. Caligari (1920) is claustrophobia. This theme is clearly expressed through the formal aspect of space throughout the film. In nearly every scene the characters are "trapped," either symbolically within the scenery, or literally as depicted in the narrative.

The primary focus of the narrative is the limitation of space of the main characters. Caligari presents the spectators with Cesare, a somnambulist, whom Caligari keeps confined within a coffin-like cabinet. When Cesare emerges from the cabinet he maintains his confined shape, never once in his initial scene breaking the boundaries of the cabinet, which continues to frame his form throughout the scene. After the series of murders, Cesare and Caligari are suspected, pursued, and ultimately confined. Cesare is trapped on a cliff side, leading to his suicide, whereas Caligari, now known to be the asylum superintendent, is confronted in his office, presented with the evidence, and confined to a straight jacket. The title presented during the confrontation scene, representing words spoken by Francis, effectively conveys this theme: "The circle is closing in - DR. CALIGARI!" Francis exclaims these words only to, moments later, be exposed as a madman whose mania results in his confinement to a straight jacket.

The production design contributes greatly to the overall sense of claustrophobia. The streets of Holstenwall, the small town in which the main story is set, are depicted as very narrow, with inward sloping walls. This choice not only communicates to the viewer that Holstenwall is a medieval town, but in conjunction with the inclusion of large immobile objects within the frame, such as heavy walls or dark staircases, which act to limit the space in which the framed action can occur, also clearly conveys a sense of claustrophobia to the viewer. For instance, the shot depicting the street outside of Alan's house contains a large, dark staircase, which presumably leads up to Alan's room, but which dominates the left third of the screen, forcing the action to the right. Nearly every street scene, including the fair scene outside of Caligari's tent and the square in which Francis and Alan discuss their love of Jane, is framed in such a manner.

One recurring street scene in particular which initially does not seem to produce a claustrophobic effect is the view of the street outside of the fairgrounds, in which a panoramic view of the town dominates the background. When this view is first presented, Caligari is the only character to occupy the space. This shot conveys a sense of immense space in its multi-tiered staging area, indicated by the handrails and the walkway to the left, and the view of the town in the distance. Nevertheless, a large wall crops the foreground space to the right. Later, when this space is used for the fair, the introduction of a multitude of people transforms this space into an uncomfortably restricted space. All of the tiers of depth are occupied by fair visitors, thus eliminating the floor space that had helped this scene present a sense of openness. Additionally, the use of Expressionist production design contributes to the claustrophobic effect because the unrealistic depiction of the distant town communicates to the viewer that the town is not real. Earlier, when the set was empty, the distant town created the illusion of wide space. Here, the fact that characters are occupying the space immediately before the town backdrop, dispels the illusion of the distant town and space it created.

Interior spaces, as well, greatly contribute to the prevailing sense of claustrophobia. Most of the interior spaces, Alan's bedroom in the beginning, the clerk's office, the police station, Caligari's tent and trailer, the prison cell, the superintendent's office, and the asylum cell, are designed in much the same manner as the street scenes. The walls tend to lean inward and large objects within the frame severely limit the amount of space available for the staging of the action. Of notable exception to this trend are the bedrooms of Cesare's victims. All three bedrooms, including Alan's, which is now shown from a different perspective, convey a sense of wide open and indeterminate space. The space in these scenes are not as constricted by set elements, and the scenery contains a considerable amount of light, in contrast to other scenes. The space is indeterminate, because the use of light and shadow obscures the elements of the set that help to define space in the mind of the viewer. The most striking example of this effect is that of the clerk's bedroom, in which the strong diagonals that draw the eye to the victim traverse the line dividing wall from floor. This effectively obscures the only space-defining element of the set.

A number of scenes are comprised of set elements that do not limit space of the action, but nonetheless convey a sense of claustrophobia. These include the outdoor scenes during the pursuit of Cesare, the asylum courtyard, and the exterior scenes in the framing story. In all three of these examples, the story itself creates the claustrophobic effect. Cesare enters the wilderness in an effort to escape the townspeople. In effect, the townspeople are encroaching on his space. He is cut off from his master and any route of escape, a condition which ultimately leads him to commit suicide. The asylum courtyard is not, in and of itself, an enclosed space, but does symbolize a place in which individuals are contained. The exterior scenes of the framing story do not, at first, seem claustrophobic at all. Indeed, the obscure rear wall of the set and the natural surrounding create a sense of open space. However, at the conclusion of the film these spaces are exposed as areas within the confines of a sanitarium. Thus even those scenes devoid of scenery elements that confine the action, nonetheless contribute to the overall theme of claustrophobia.

The curtailing of space of the characters is the primary focus of the Robert Wiene's The Cabinet of Dr. Caligari. This effect can be described as "claustrophobia," a theme which is present throughout the film. This theme is expressed not only in the narrative, but also through set design, staging, and framing. Thus, the main use of the formal aspect of space, as depicted in the film, is to convey the sense of limitation of space.

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