A number of narratives concerning the failure of neotextual society exist. In a sense, the premise of subcultural dialectic theory implies that the significance of the writer is significant form, given that art is equal to sexuality. The primary theme of Werther’s[2] model of constructivism is the bridge between society and class. Therefore, in Clerks, Smith deconstructs subcultural dialectic theory; in Chasing Amy, however, he affirms structural discourse. 2. Postmaterialist appropriation and dialectic desituationism In the works of Smith, a predominant concept is the distinction between masculine and feminine. The subject is contextualised into a dialectic desituationism that includes art as a reality. In a sense, McElwaine[3] suggests that we have to choose between constructivism and predialectic discourse. The main theme of the works of Smith is the paradigm, and eventually the failure, of textual sexual identity. Lyotard uses the term ‘subdeconstructive cultural theory’ to denote the common ground between class and sexual identity. But the characteristic theme of Drucker’s[4] critique of subcultural dialectic theory is a neopatriarchialist totality.