The essay exams the play of various forms of difference in Dog Day Afternoon. It notes how permutations of generic conventions assist in tracking shifts between gender identities and alternative sexual orientation. Dog Day Afternoon takes the heist movie and mutates it into a form of coming out narrative. Within this permutation, the suggestion is made that ‘the real’ heist is the pressure exerted by heteronormativity on alternative sexuality, most especially in this case, on men who have sex with men. The essay also comments on the debasement of the High Romantic trope of elsewhere and elsehow in the movie and sees how a diminished dream of elsewhere is arrested by the pressures of the time being.

中文翻译：

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Lumet的狗日下午熟悉的陌生

作文考查了《三伏天下午》各种形式的差异的发挥。它指出了通用惯例的排列如何有助于跟踪性别认同和替代性取向之间的转变。Dog Day Afternoon 将抢劫电影改编成一种现成的叙事形式。在这种排列中，有人提出“真正的”抢劫是异性恋对另类性行为施加的压力，尤其是在这种情况下，对与男性发生性关系的男性。这篇文章还评论了电影中其他地方和其他方式的高级浪漫主义比喻的贬低，并看到了在其他地方的缩小梦想如何被当下的压力所束缚。