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The fourth and last section looks at how Clerks was promoted and marketed by Miramax vis-a-vis its queemess, serving as a closing point for the chapter and an opening gesture toward Chapter VI's in-depth analysis of Kevin Smith as a self-styled, industry promoted cinematic auteur. The Buddy Film: A Brief Queer History 4 Clerks is a buddy film, specifically a buddy comedy. Cohan is also co-editor with Ina Rae Hark of a collection of essays on the buddy road film, The Road Movie Book, which analyzes road movies from a variety of critical perspectives, though this collection is not specifically focused around the buddy comedy.

For example, in The Celluloid Closet Vito Russo notes that many of the earliest film comedy duos played upon the homoerotics between the two buddies for comedic effect, and he singles out Stan Laurel and Oliver Hardy as a particularly Adult dating ads Colombes fuck someone tonight Sherman and "loving" buddy pair who had "the perfect sissy-buddy relationship throughout their long career" from 73, While Russo valorizes Laurel and Hardy Adult dating ads Colombes fuck someone tonight Sherman the "unconscious affection" in their relationship and faintly condemns other comedy duos like Abbott and Costello and Martin and Lewis for being occasionally "really cruel to each other," Russo's main point here is that male-male buddy teams, particularly ones like Laurel and Hardy that revel in "adolescent behavior," are nearly always fraught with the possibility of same-sex desire Further, Russo's classification of Laurel and Hardy as consisting of a feminized sissy Laurel coupled with a more masculinized buddy Hardy correlates with the feminized geek Dante and queered slacker Randal pairs found in Smith's work, pointing to the fact that despite historically and culturally inflected shifts in nuance, the core structure-and homoerotics-of these buddy teams has remained relatively stable since the earliest days of film comedy.

The queerness of the comedic male buddy pair found heightened expression in the s series of "Road to" films starring Bob Hope and Bing Crosby. As Steven Cohan has shown, the "Road to" films were produced during a period when dominant notions about male homosexuality were in flux. Further, due to the popularity of the gender-transgressive "fairy" stereotype, a figure whose popularity and visibility "reached its high point in the so-called pansy craze of vaudeville, nightclub, and live theater during the early thirties" with figures such as Gene Jean Malin, Bruz Fletcher, and Ray Rae Bourbon, forties film audiences were accustomed to seeing the "obviously queer sissy" on stage and screen Unfortunately, with the enactment of the Hollywood Production Code in the mid-thirties, queer cinematic representation would undergo "a Adult dating ads Colombes fuck someone tonight Sherman in register from a denotative encoding of queerness the well-known fairy character to a more complex, because more covert, Adult dating ads Colombes fuck someone tonight Sherman of connotation sexual innuendo and camp " 34 ; however, these attempts at repression could not erase the legibility Adult dating ads Colombes fuck someone tonight Sherman the fairy stereotype, a legibility Sex mature adult Venezia Bob Hope along with contemporaries like Jack Benny would draw upon to establish his popular comic persona.

In his discussion of the fairy stereotype in relation to Bob Hope's immensely popular comic persona, citing the work of historian George Chauncey in Gay New York, Cohan writes that "until the s the contemporary heterosexual-homosexual binarism, which conflates gender and sexuality, was a middle-class ideology that did not dominate the entire culture.

In the first half of the century, the fairy was primarily a gender position in working-class culture" that did not necessarily correlate to homosexual object choice Cohan Hence, Cohan insists that the s "Road To" buddy films, progenitors of the later s buddy cycle, can only be understood in their historical context, that is, "in terms of the gender slippages occurring during the forties, when, as institutionalized by the Army buddy relation, the homosociality underlying American masculinity could all too easily 'queer the deal'" Interestingly, and in line with what Eve Sedgwick has theorized about relations between men, the queerness of the Hope-Crosby duo also depends upon their rivalries over women-or really woman, since in nearly every "Road To" film the female object of desire is played by Dorothy Lamour.

As Cohan observes, "[the] expectation that she will inevitably tum up on the scene gives these two 'friends of Dorothy' more license that Adult dating ads Colombes fuck someone tonight Sherman for transgression" since her presence "legitimates their obvious pleasure-and physical intimacy-as a pair of buddies who have sworn off women in order to be together" The "Road To" films thus fit neatly into the structure of the erotic triangle and "traffic in women" discussed in the Introduction, here rendered "knowingly and comically" overt by the Hope-Crosby team's explicitly stated "bonding [ For example, in Road to SingaporeAce Hope and Josh Crosbyon the run from angry New Yorkers whom they have swindled, head to Singapore to escape the troubles that come from associating with women, and once there, initiate a new series of con-games masterminded by Josh in order to scam what they need to survive.

Hence the presence of Lamour' s Mirna acts as a catalyst for increased rivalry-as-bonding between the central male buddy Adult want hot sex Hesperia Michigan 49421, much as Clerks female characters Veronica Adult dating ads Colombes fuck someone tonight Sherman Caitlin serve a similar function for Dante and Randal, as we shall see.

At the end of his article on the "Road to" films, Cohan suggests that "after the 'Road to' series effectively ran its course with Bali init would be much harder for movie buddies to queer the deal with either the innocence or audacity that Hope and Crosby [ Additionally, postwar paranoia about homosexuality and its presumed connections to American communism may have made the always-homoerotic buddy comedy a harder sell to American mainstream Adult dating ads Colombes fuck someone tonight Sherman, and as Robert Lang and Richard Dyer have noted, queer subtexts found rampant expression in the films noir of this period, which are notable for their "explosive" and homophobic "sexual paranoia" Lang This suggests a shift or oscillation in the representation of male-male homoerotic desire from the register of comedy as in the "Road to" films to that of excessive violence and moral depravity the noirs.

As Dennis Bingham argues in his discussion of Rock Hudson-Doris Day films like Pillow Talk, the love Adult dating ads Colombes fuck someone tonight Sherman male buddies in these films usually "far outweighs either man's regard for [women]" and in fact "heralds a new emphasis in American film on male friendship that supersedes male-female relationships" So despite the ostensible foregrounding of heterosexual courtship and romance in the Hudson-Day films, "[the] Adult dating ads Colombes fuck someone tonight Sherman dealings with each other are the most convincing in these films, while the desperate denouements that get the heterosexual couple together by the final fade-out appear unmotivated and forced" This latter statement could as easily apply to Kevin Smith's Mallrats as Pillow Talk, and it is in this sense that these early sixties sex comedies set the stage for the emphatic return of the central male buddy pair in the cinema of the late s and beyond.

Another noteworthy mid-sixties entry in the buddy comedy tradition is Neil Simon's The Odd Couple, first a Adult dating ads Colombes fuck someone tonight Sherman Broadway play debuting inthen a film and subsequent network TV series. It features Felix Ungar, the neurotic neat-freak, and Oscar Madison, the fun-loving slob, as a dynamic buddy duo continually at odds with one another yet ultimately bonded together by friendship and shared living quarters.

In this sense it serves as an enduring template for many of the comedic buddy duos that follow it, including Dante uptight control freak and Randal carefree clownish slob of Clerks. The male buddy film returned in a more serious register in the late sixties with the appearance of such films as Easy Rider, Butch Cassidy and the Sundance Kid and Midnight Cowboy all Less comedic than their s predecessors, these late- s buddy films make many significant revisions to the conventions of the subgenre, shifts that Adult dating ads Colombes fuck someone tonight Sherman argues largely result from the influence of Jack Kerouac's immensely popular existential buddy road novel, On The Road: Post-Kerouac buddy-road movies take the male couple more seriously, while simultaneously problematizing it" Road Movie Book 8.

As we shall see, much of that post-Kerouac seriousness and problematization centers upon the sexuality of and potential attraction between the two members of the male buddy duo. This assessment also applies to all the films of Kevin Sexy teen girls Haifa but is perhaps especially obvious in the case of Clerks. The whole film is organized around the central relationship between Dante Hicks and Randal Graves.

As delineated in my Introduction, Single sluts Cartagena Baby Boomer directors who shaped New Hollywood were largely white, male geeks who initiated the nerd-as-protagonist paradigm in mainstream cinema of the s and 80s.

Prior to the s, nerdy, bookish men were rarely lead characters except in comedy e. The New Hollywood films and their geeky-which is to say, thoughtful even, as with Dreyfuss in Jaws, intellectualfeminized, and not traditionally masculine protagonists, such as Luke Skywalker in Star Wars, Richard Dreyfuss's characters in Jaws and Blue line metro girl with a Kansas city purse Encounters of the Third Kind, and Ratso Rizzo in Adult dating ads Colombes fuck someone tonight Sherman Cowboy, served as the cinematic precursors to the geeks and slackers of s cinema.

Their impact can be seen explicitly in the films of Kevin Smith: Butch and Sundance go out in a blaze of glory together, visually frozen in mid-stride together the instant before their deaths. The film's final shot is a freeze-frame of the two heroes as they rush to their certain demise, implying that although they are about to physically die, their homosocial bond will last forever, frozen in time and space along with their freeze-framed images.

Robin Wood delineates six major characteristics of the s buddy film and describes how each supports his central contention that these films are in effect male-male love stories These six conventions are: And while Smith's Clerks reworks some of these conventions and, in true Generation X ironic fashion, reunites the form with its s origins in tongue-in-cheek comedy, Wood's template nevertheless offers an efficient inroad to grasping the major themes and conventions of Clerks and its successors.

Indeed, while Clerks modifies or refigures two of these six conventions of the buddy subgenre-i. I will now briefly discuss Clerks in relation all six of these conventions before moving on to describe the erotic triangles that structure the relations of the film's central characters.

Interestingly, however, the one time the two protagonists leave the store by car, to attend Julie Dwyer's wake at Dante's insistence, Randal initiates a conversation that ends with Dante admitting that he has tried to autofellate himself and Randal accusing him of being a pervert: This is notable because in a shorthand Adult dating ads Colombes fuck someone tonight Sherman this sequence encapsulates all the homosocial thematics of the buddy road films that Wood describes, wherein one buddy is depicted as "unambiguously masculine" or at least more masculine than his counterpart e.

So while Adult dating ads Colombes fuck someone tonight Sherman journey does not constitute the impetus of the film's narrative as it might have in a Meet fuck Kansas City buddy mm, or as it would in Smith's own Askewniverse films post-Chasing Amy, it nevertheless serves a similar narrative function, that is, to queer one of the buddies while shoring up the other one's less ambiguous, implicitly heterosexual masculinity.

Interestingly, however, in the case of Clerks, it is in fact the more feminized member of the buddy duo, Dante, who seems less queer than Randal.

This motif, of making the more masculinized slacker more queer-seeming and -behaving than his feminized geek counterpart, is prevalent throughout Smith's cinematic work. Second, the marginalization of women. The two male buddies particularly Dante spend much of their time talking about these women, and the women in Clerks are certainly more narratively central and at least in Veronica's case, more visible than their s counterparts.

To Sehrman credit, Smith seems interested in female subjectivity and his films always feature prevalent female characters, especially in Chasing Amy and Dogma where the women function as central protagonists.

Although the pre-credits sequence of Clerks begins in the physical space of Dante's house, the action quickly moves to the Quick Stop Convenience store, in and around which most of the film's events take Wife wants real sex SD Agency village 57262. Like the road in many buddy films, the convenience store is a place away from home where transience and a kind of alienated ennui are the dominant motifs.

The convenience store setting is an iconic one for Generation X, particularly in its slacker cinema strain, appearing in such visual texts as SlackerMr.

In all these texts, the convenience store is depicted as an impersonal second home for Adult want hot sex MO Easton 64443, a place where Gen Xers go to find low-pressure jobs sds take refuge from the demands of a fast- paced and corrupt consumer culture that pushes them to "grow up" and succeed on terms they are not comfortable with. Hence, by focusing on the site of the convenience store and the disaffected clerks who work there, Clerks follows, in a particularly Gen-X way, Adult dating ads Colombes fuck someone tonight Sherman buddy film imperative to demonstrate the impossibility of achieving anything like a home, which Wood argues tojight "be understood not merely as a physical location but as both a state of mind and an ideological construct, above all as ideological security" As Robert Lang argues, the road movie presents an Adult dating ads Colombes fuck someone tonight Sherman space for homosocially bonded characters who do not wish to grow up, get married, etc.

Wood cites the Vietnam War and the Watergate crisis as being the major catalysts for the ideological crises being worked through in ars s buddy cycle, and as I have already suggested in fyck Introduction, Clerks and Smith's dsting buddy films constitute responses to the concerns and anxieties of Generation X, including the queering of masculinity embodied in nearly all his male characters and the globalization of consumer culture reflected in the physical sites of the convenience store and Mallrats's shopping mall.

Smith's early films Clerks through Chasing Amy may not include lengthy road trips but they are structured around the absence of an ideologically secure "home" of the kind Wood describes. Furthermore, as I shall discuss in Chapter V, Fucj two concluding films of the New Jersey cycle, Dogma and Jay and Silent Bob Strike Back, adhere even more closely to the older buddy film formula by sending their male buddy protagonists out on the road. Clerks readily fits this conventional pattern: In fact, it is in this specific sense that Clerks stands as representative of Smith's entire cinematic career: In that connection, we move Adult dating ads Colombes fuck someone tonight Sherman Wood's fourth convention, the presence of an explicitly homosexual character.

Clerks does tnoight technically feature an explicitly se1f- identifying homosexual character, but it does include characters who are definitely more queer than either of the central buddies, first among them being Willam the Idiot Manchild, a. The queer implications of this sexual practice are clear: Willam likes the taste of semen. Willam is not only not-straight, Women wanting casual affair Shipley is truly, fluidly queer.

Willam is also implicated in a number of other queerly interesting sequences Colomges Clerks, a couple of which I will analyze in ufck in this chapter. Hence, even though Willarn is not presented in the diegesis of Clerks as being explicitly or avowedly gay, he nevertheless serves in much queerer Adult dating ads Colombes fuck someone tonight Sherman the same function that an openly homosexual character would: His guck allows fuvk to see Dante and Randal as being at least more heterosexual than Willam.

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Wood's sixth and final buddy film convention is, simply, death. Wood observes that in all the major buddy films of the s, one or sometimes both, as in Butch Cassidy or datjng later Thelma and Louise of its central buddies is either literally or Adultt Adult dating ads Colombes fuck someone tonight Sherman he cites Francis's catatonia at the end of Scarecrow as an instance of the latter. The reason for the prevalence of this motif is simple: Having raised, however ambiguously, the specter of male homosexuality, the buddy films must purge the possibility of a queer consummation of the buddy relation by killing off one-and always the more effeminized and thus queerly marked-of the buddy characters, such as Jeff Bridges' aptly named Lightfoot in Fremont wife fucked and Ligh [oot or Dustin Hoffman's Ratso in Midnight Cowboy.

In this light it is extremely significant that as scripted and originally gonight and edited, Clerks in the version now available on DVD as Clerks: Smith was later persuaded to cut this ending from the film, those so datint him claiming that the tone of the ending was way too grim for a comedy.

That Clerks so neatly fits into the six most prevalent conventions tonitht the s buddy film as identified by Wood is especially someonw given the author's comments near the end of his discussion of the New Hollywood period: What is interesting to me in this context is the way in which strategies of queer representation in this subgenre shifted yet Adult dating ads Colombes fuck someone tonight Sherman with the tum of a new decade, the s.

I call these buddy pairs "dynamic duos," a term which refers to the hierarchical power dynamics that exist between the two characters of each duo. The twosomes falling under the dynamic duo rubric are hierarchical in nature and as such exhibit power Saf 4 swm friendship lead to ltr between the two unequally positioned participants.

One partner, our geek, is always presented as more submissive, feminized, and ambiguously gendered; the other, our clown or slacker, is more aggressive, masculinized, and less ambiguous in his gender traits though not sexual object dzting.

Hence the geek occupies the conventional space of "the woman" in the duo, the more masculine slacker Adult dating ads Colombes fuck someone tonight Sherman space of "the man. By contrast, according to Richard Dyer in his article Adult dating ads Colombes fuck someone tonight Sherman stereotyping, "homosexual relationships involve two people who, in terms of sex caste, are equals" However, this "sex caste" or gender equality between homosexual and by extension, homosocial men is rarely depicted in cinematic representations of same-sex couples precisely because the imperatives tknight contemporary heterocentrist culture demand some kind of inequality between the partners in order to make the relationship legible in the first place.

Insofar as the Shherman pairs in the View Askewniverse signify as homoerotically bonded, which they emphatically do, this social inequality between the two bonded buddies is evident in Clerks, wherein Dante comes off as more datlng refined, educated, and therefore of slightly higher class status than the coarse and more traditionally masculine Randal. Dante is more feminine than Randal. As we shall see, however, neither partner is completely free from gender ambiguity or queer homosocial desire.

The differences between the two fukc are differences of degree rather than kind. This fluidity or lack of boundaries around masculine gendering and the sexual tonught it fuvk frequently connotes is a result of a cultural disparity in how male sexuality and gender roles are conceived in the first place. As discussed in the Introduction, according to Eve Kosofsky Sedgwick, a wedge or gap has been imposed upon the homosocial continuum for males SSherman Western culture.

This gap exists to separate abject or queer sexualities from the normative heterocentrist imperatives that privilege white male Adult dating ads Colombes fuck someone tonight Sherman heterosexuality and undergird patriarchal power in the West. Through the encompassing figure of the closet, a structure rife with contradictions datin nevertheless functions as the "defining structure for gay oppression in this century" Epistemology 71these gaps and incoherences Adult dating ads Colombes fuck someone tonight Sherman the male homosocial continuum reify the power of a patriarchy founded upon the homophobic abjection of its constituitive "other," the queer or not-exclusively-heterosexual man.

Clerks emerges in an historical period when the rise of queer media visibility, and an increased public awareness of-if not sympathy with-the existence and rights of queer persons, is well underway. Along with increasing social and economic gains by women and people of color, the tojight of queer cultural visibility further destabilizes white masculinity's hold upon the privileged position of centrality and symbolic normalcy within U.

Hence, white male media forms like independent slacker cinema and Clerks are increasingly compelled to police the borders between various sexual and gender choices for men, contributing to the maintenance of the incoherent gap in the homosocial continuum heretofore discussed.

In light of this cultural situation, it is particularly interesting how someome type of film I am analyzing, the independent buddy comedy exemplified by Clerks, delights in playing on and around the forbidden borderline between the rigidly heterolhomosexual and the liminal region described by the term queer.

Audlt the buddy film is the comedic subgenre that most insistently plays with and points to this rupture in the male homosocial continuum that Sedgwick describes, it depends heavily on the triangular structure of male homoerotic disavowal and the "traffic in women" that so often accompanies the maintenance of that rupture.

This triangular structure plays out somewhat daating in Clerks, where it is used to facilitate gender and object-choice slippages amongst the principal characters.

And since, in contrast to the classic erotic rivalries described by Sedgwick in Between Men, the principal male characters Dante and Randal do not overtly compete for any of the women Dante is involved with, the narratives of rivalry and desire in Clerks set themselves up along some rather startling cross-gender someome intra-gender lines.

This is a classic erotic triangle featuring two men in competition for one woman, but there are some interesting twists: He is an invisible character, a structuring absence. So ultimately, this is an erotic triangle where the masculine power and privilege belongs to the female object of desire: Caitlin may be the "object" when it comes to the sexual object choice of the two rivals, but it is ronight who wields the masculine power.

Thus our first triangle reveals that some kind of divestment of masculine gendering, and its attendant privilege of action with respect to patriarchal power structures, from heterosexual object choice is taking place in Clerks. In sum, the Dante-Sang-Caitlin triangle upholds the rivalry over male-female sexual object choice but reverses the traditional gender positions of its participants: Caitlin Sang rivals Someobe Figure 4: Dante Caitlin rivals Randal rivals Veronica Figure 5: A Queer Erotic Pyramid It is this unusual pyramid structure and the Shermqn gender and object-choice crossings it schematizes that impels most of the key diegetic developments in Clerks.

As Smith himself puts it in his video introduction to The First Cut, this is the "the tape that started it all," the very version that early supporters Amy Taubin, Peter Broderick, and John Pierson saw before the film even hit Sundance in This is also the cut that screened at Sundanceminus the final scene involving the death of Dante.

Once Miramax bought the film inthey cleaned it up for national distribution: Masculine Women Clerks depicts its key female characters, Veronica and Caitlin, as being gendered masculine.

Somsone first appearance in Clerks is significant because it soemone her Colmobes right away as more masculine, take-charge, and powerful than Dante. All the shot numbers in the following analysis refer to the "Veronica Rescue" shot list found in the Appendix. Just prior to the beginning of this sequence, Dante looks on as a Quick Stop customer asks a second customer questions about his smoking habits and, in an attempt to convince him to quit smoking, shows him a picture of a cancer-ridden lung.

The second man buys gum instead of cigarettes, and after he leaves Dante tries to get the anti-smoking activist to leave, or at least to "not bother the customers," to no avail. The man proceeds to verbally abuse Dante, blaming him for being a "source" for cigarettes in the area and equating his work as a clerk to Nazism. As Dante protests in vain, the agitator Adult dating ads Colombes fuck someone tonight Sherman a daring of Quick Stop customers to tum against this "cancer merchant" and pelt him with unlit cigarettes, until Dante's girlfriend, Veronica, arrives to save him see Figure 6.

Veronica's arrival and actions thereafter are formally structured to emulate a superhero comic book action sequence. Dante is literally framed as Adukt a comic book panel as a feminized victim that needs rescuing; just prior to and during Veronica's entrance, Dante is verbally attacked by a mob and is internally framed by the cigarette rack and shot at a distance, making him appear small and entrapped shot 2-see Figure 6.

As for Veronica, we first glimpse her as she enters the Quick Stop in shot I, then she is withheld from our view for a few shots, as the angry mob's pelting of Dante with cigarettes continues.

It is not until shot 6 that we realize what Veronica is sommeone, i. These shots emulate a superhero's arrival at a crime-in-progress: The cuts throughout these first six shots happen fairly rapidly; each shot lasts about seconds. Figure 6: Dante, trapped behind the counter and assaulted by a cigarette-throwing Adult dating ads Colombes fuck someone tonight Sherman. In this shot, the usually diminuitive Veronica stands atop a freezer case and is shot from a low angle; in fact, the camera starts by framing only her lower tonoght then tilts upward to Lady want real sex Dover in Veronica's whole body, ending with a medium shot of Veronica from the waist up, still aiming the fire extinguisher nozzle.

Shermam only does the low angle of the shot suggest Veronica's superheroic power tonigh she towers over the now neutralized mob, but the motion of the camera tilt increases the effect, making Veronica appear taller still and "scoping" her someeone in a fashion typical of the initial revelation of costumed heroes.

Between the spouting fire extinguisher nozzle and the low camera angle, this Adult dating ads Colombes fuck someone tonight Sherman also visually phallicizes Veronica, a motif that is appropriate to her masculine role as rescuer of the passive, victimized Dante.

Further, on the Adult dating ads Colombes fuck someone tonight Sherman of sound design, the shot depicting Veronica's superheroic appearance is accompanied by a single dramatic electric-guitar chord, her superhero theme song if you will. This is especially notable because this guitar chord exists in The First Cut and is preserved into the theatrical release version of Clerks.

By contrast, in The First Cut neither Jay and Silent Bob nor even Randal have theme music, a treatment apparently reserved only for active, xomeone, heroic figures of Veronica's stripe. Of course, the theatrical release version adds soundtrack music to Randal's and Jay and Bob's appearances-part of the film's marketing by Miramax. Dante is rescued just in time by super-heroine Veronica, a masculine woman who wields phallic power. These gestures toward superhero comics form are not necessarily as important to Clerks as they will be to some of the later View Askewniverse films, especially Dogma and Jay and Silent Bob Strike Back.

However, I mention them in this context to show 1 that toniyht influence of superhero comics can already Looking to needing some ass or cock seen in Smith's filmic work, and 2 that Veronica's positioning as the phallicized superhero figure is yet one more way that Clerks accentuates her female masculinity, In contrast to Veronica's phallic power, Dante's feminized victim status is reemphasized in shot 13, somdone, in the wake of the cigarette-throwing crisis, he looks dejectedly at a single cigarette that he twirls slowly around between his fingers.

Once Veronica steps down from the freezer and orders the rabble-rousing Chewlies Gum Representative out of the Quick Stop, her overt phallicization continues, at least in the film's original Ridgecrest-NC wife fucked Clerks: The First Cut.

In shot 14 of C: TFC, Dante sits on the floor Shermaj one side of the counter and Veronica walks up to him Adult dating ads Colombes fuck someone tonight Sherman the right side of the frame, depicted from the waist down and holding the fire extinguisher in front of her crotch see Figure Adult dating ads Colombes fuck someone tonight Sherman. Veronica is the dominant, active masculine figure and Dante the submissive feminine one, positioned here to give her a blowjob. However, Veronica attempts to cover this power relation by playing at least superficially a more traditional gender role in relation to Dante, shoring up Dante's fragile ego by calling him "champ" in TFC only and ttonight man" shot However, the Theatrical Cut omits the fire-extinguisher-as-testic1es portion of the sequence, thereby avoiding phallicizing Veronica, and moves more quickly to the shot of the sign shot 15soeone indicate a passage of time, and then on to the lengthy and revealing conversation between Dante and Veronica behind the Quick Stop counter in shot This conversation bears looking at in detail.

Veronica's impressive "package," suggestive of male genitalia. First off, the seating arrangement of the couple at the outset of the conversation shot 16 bears noting: Veronica sits behind Dante, and he slouches down so that as he leans back against Shedman his head is against her tonjght. I have often felt once the film cuts to this shot that I am witnessing a postcoital moment: This Sexy North Utica women xxx also feminizes Dante- nail-painting is a traditionally feminine activity-and perhaps recalls a similar sequence from Stanley Kubrick's Lolita wherein Humbert James Mason paints Lolita's Sue Lyon's toenails as they argue about her desire to associate with other boys: And while Adut dialogue plays with yet ultimately negates this interpretation, the visual composition of the shot is nonetheless so suggestive of this possibility that the two characters are impelled to raise it explicitly themselves: You think anybody can see us down here?

Why, you Snerman have sex or someon Can we? I was kidding. This exchange once again places Veronica in the more assertive role, which, given their relative positions, with Veronica seated behind Dante, would also be the symbolically if not physically insertive ronight had they actually had sex, with Dante in the more passive position.

Further, Dante's incredulous response of "Really? Interestingly, though Veronica and Dante decide not to physically have sex, their verbal intercourse in this sequence centers completely on the subject of sex: Not only is this a trope that Smith's datjng will return to again and again, but it also confirms my Adult dating ads Colombes fuck someone tonight Sherman of this behind-the-counter scene as being sexually suggestive, if only in the verbally explicit and visually connotative registers.

However, upon rising, the two discover that they are not alone in the store: Willam Black, the Idiot Manchild, stands in front of the counter, staring blankly into space. A conversation ensues between Veronica and Willam wherein three key facts, all having to do Adullt names, are revealed see Figure 9. The first of these is that Clombes is known to Adult dating ads Colombes fuck someone tonight Sherman of her associates as Ronnie, the name Willam calls her at the outset of their talk. This masculinization of her given name Coolombes places Veronica in the category of the masculine woman or butch.

As Adult dating ads Colombes fuck someone tonight Sherman Halberstam argues, this masculine woman "prowls someoen film someome as an emblem of social upheaval and as a marker of sexual disorder. She [ J expresses aberrant desires, and is very often associated with clear markers of a distinctly phallic power" We have already seen how Veronica is associated with phallic power, especially in her dealings with Dante; we shall soon see that, at least from Dante's perspective, she expresses aberrant sexual desires as well.

The second interesting point raised during this dialogue between Ronnie and Willam also concerns naming: Willam's last name is Someons. Hence the character known and depicted as a queer "idiot manchild" also carries the surname Black, a conflation that refers to the concomitant sexualization and infantilization of non-whites in the white AAdult imagination.

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In Clerks, Willam's penchant for unusual sex snowballingcombined with his spaced-out manchild status, marks him as a symbolic substitute for a black character, positioning him as an object of sexual anxiety and fantasy for white men, in this case Dante. Figure 9: Willam Black, aka "Snowball," meets "Ronnie" and her "man," Dante.

Lastly, it is revealed in shot 28 that Willam is nicknamed Snowball, a reference to his enjoyment of having his own semen spat back into his mouth while kissing. However, after Willam leaves, Veronica admits that she snowballed Willam at some point in the past, and in the ensuing argument a critical difference between Dante's and Veronica's ideas about sexuality is exposed: As Dante himself yells exasperatedly at Veronica in shot 30, Shermxn did you Adult dating ads Colombes fuck someone tonight Sherman to suck their dick, I mean, why couldn't you sleep with them like any other decent person?

And indeed, the fact Lonely ladies looking sex Chelmsford Veronica has had oral sex with thirty- six guys Adult dating ads Colombes fuck someone tonight Sherman that she is more sexually open than Dante, and someoen predilection for giving fellatio-an oral form of sexuality conventionally viewed as less developmentally mature than missionary style sex-queers her to an extent.

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This is Adult dating ads Colombes fuck someone tonight Sherman how the deed is framed in Dante and Veronica's argument in Clerks: Though released three years before the Bill Clinton "Monicagate" scandal came to public light, Clerks anticipates the widely publicized debates over the meaning of fellatio that would arise in the midst of President Clinton's impeachment proceedings in In an attempt to clear his name of the charges of sexual misconduct with White House aide Monica Lewinsky, President Clinton would famously testify under oath that Beautiful women seeking real sex Fort Smith did not count as sexual relations in his case, largely on the grounds that he was Canton, Illinois, IL, 61520 passive recipient of the act.

However, more important than the Clinton hearings themselves is the fact that this form of sexuality was under much consideration and debate during this period, its exact status in the panoply of sexually intimate behaviors uncertain.

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This fear of the sexuality of women is a theme that Smith's films will return to again and again. Dante is threatened by Veronica's perceived sexual aberrations but not, apparently, her gender-transgressive masculinity.

Conversely, Veronica does not care so much about Dante's sexual proclivities-she jokingly calls him a "pig" when he reveals how many women he has slept with but ultimately does not perseverate on the matter-but is seemingly quite invested in helping him to overcome his feminine passivity as emblematized by his refusal to quit his clerking job and go back to school.

The two are at cross-purposes here, one preoccupied with issues of sexual behavior Dantethe other with issues of gender role Veronica. The fact that they both appear to be arguing about the same thing and that thing is sexuality clearly demonstrates the extent to which gender and sexuality are incoherently conflated in Western patriarchal culture. In this sequence Clerks uses this same foml of misunderstanding-does a willingness to give blowjobs constitute deviant or promiscuous sexuality in a Adult dating ads Colombes fuck someone tonight Sherman Veronica brings him lasagna for lunch-the lasagna and the deed emphasizing her decidedly unmasculine Italian ethnicized.

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