Abstract:Critics of Alfred Hitchcock's Strangers on a Train (1951) have attended to the film's motifs of doubling, pairing, and reversal. We, however, approach Strangers on a Train as an interrogation of the couple form, as a violently comic challenge to its normative regulation of the social order. If the film is obsessed with the number two, it is equally obsessed with all the ways in which this even number can prove to be odd or strange or queer, as exemplified from the beginning by the male strangers coupled by its title. Such is the force of the film's obsession with the number two, however, that it features more than one odd couple; indeed, it may be said to constitute a veritable carnival of couples, whose insistence on adding up to more or less than two compels us to reflect on the relations between queerness and the couple—on how the couple necessarily exceeds itself.

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两个多

摘要：阿尔弗雷德·希区柯克 (Alfred Hitchcock) 的《火车上的陌生人》(1951) 的影评人注意到了电影的双重、配对和逆转的主题。然而，我们将《火车上的陌生人》作为对夫妻形式的审讯，作为对其社会秩序规范性监管的暴力喜剧挑战。如果这部电影沉迷于数字 2，那么它同样沉迷于这个偶数可以证明是奇怪的、奇怪的或奇怪的所有方式，正如从一开始的男性陌生人加上它的标题所证明的那样。然而，这部电影对二号人物的痴迷如此强大，它以不止一对奇怪的夫妇为特色。的确，可以说是名副其实的情侣狂欢，