is seen in Clerks, Silent Bob takes Jay’s jacket off for him and then hands him a drink. Later on in the movie, while the two are talking with Dante, Jay graphically humps Silent Bob in an attempt to show what he would like to do to Caitlin. In Mallrats, Jay and Silent Bob leave a scene with their arms around each other and then Jay quickly grabs the crotches of Brodie and T.S. Jay’s ability to be physical with Silent Bob in public displays his comfortable acceptance of homosocial desire. Besides
on the pulse of his generation (“X” marks the spot). His observations about comic books, video games, and other aspects of life in the ‘90s are as insightful as they often are scathing. But this is nothing new – it was evident in both Clerks and Mallrats. What’s different here is that Smith has crafted a touching nuanced romance which may be the most memorable screen love affair since Before Sunrise.” (Chasing Amy, James Berardinelli) Meaning, Kevin Smith has kept his eye open since making Clerks
his own experiences as a lower-middle class male in New Jersey to compile his scripts, and adds his own humor as well as the humor of recurring actors who appear in his films. His four semi-cult hit films are (in order of production): “Clerks”, “Mallrats”, “Chasing Amy” and “Dogma”. In all four of these films, Kevin Smith wrote the scripts, directed, produced and made appearances in the films. Smith not only acts in all of the films, but also acts the same character in all the films. Jay and Silent
and flicked my tongue wildly in her direction. I then snapped my mouth shut and blinked heartily. I licked my lips and tasted the sweet, artificial-peach flavor. The "slug" rolled around gleefully in my mouth as Erika and I chuckled at the various mallrats screaming and laughing in the opposite corners of the food court. "What a bunch of fucking losers!" Erika said as she flopped the middle part of her "tri-hawk" to the right side of her head and looped the barbell in her tongue through the two
1. Substructural capitalist theory and postdialectic Marxism The main theme of Werther's[1] essay on cultural theory is a subpatriarchial reality. But if capitalist destructuralism holds, we have to choose between semanticist pretextual theory and the preconstructivist paradigm of reality. "Sexual identity is fundamentally elitist," says Sartre. Cultural theory states that the collective is impossible. It could be said that Reicher[2] holds that we have to choose between neopatriarchialist feminism