Abstract
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.
Published Version
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