- article: Expressionist Themes in Strangers on a Train
- author(s): Peter J. Dellolio
- journal: Literature Film Quarterly (2003)
- issue: volume 31, issue 4, page 260
- journal ISSN: 0090-4260
- publisher: Salisbury University
- keywords: "A Hitchcock Reader" - edited by Marshall Deutelbaum and Leland A Poague, "Alfred Hitchcock: Centenary Essays" - edited by Richard Allen and S Ishii Gonzales, "Focus on Hitchcock" - edited by Albert J. LaValley, "Hitchcock's Films" - by Robin Wood, "Hitchcock: The Murderous Gaze" - by William Rothman, "The Art of Alfred Hitchcock" - by Donald Spoto, "The Films of Alfred Hitchcock" - by David Sterritt, Alfred Hitchcock, André Bazin, David Sterritt, Donald Spoto, Farley Granger, François Truffaut, Frenzy (1972), Hitchcock Annual, I Confess (1953), Joe McElhaney, Marion Lorne, Marnie (1964), Murder! (1930), New York City, New York, North by Northwest (1959), Notorious (1946), Patricia Hitchcock, Peter J. Dellolio, Psycho (1960), Rear Window (1954), Richard Lippe, Robert Walker, Robin Wood, Roger O. Thornhill, Ruth Roman, Saboteur (1942), Shadow of a Doubt (1943), Spellbound (1945), Stanley Cavell, Strangers on a Train (1951), The 39 Steps (1935), The Birds (1963), The Lady Vanishes (1938), The Man Who Knew Too Much (1956), The Wrong Man (1956), Thomas Elsaesser, United Nations, New York City, New York, Vertigo (1958), William Rothman
Dellolio describes the narrative and stylistic organization of the film Strangers on a Train, which is deeply influenced by some of the precepts of Hitchcock Expressionism. The film, which suggests that dangerous moral, ethical, and material forces are unleashed when conscious behavior and subconscious wishes are in conflict, confirms that Hitchcock Expressionism is a maturational combination of personal aesthetic choices and certain pre-established formal resources.