An exploration of key aspects in "A Portrait of Jason" (1967).

1. Race, Sex, and
Performance in 1970
An exploration of
Shirley Clarke’s Portrait
of Jason
T. Grebinger-Martin
April 9, 2018

2. This presentation is intended for collegiate
level students, with the purpose of exploring
the purpose
and
significance
of Jason’s
mannerisms
in the film

3. Key Ideas
Performance vs Fiction
Hustling
Sexuality, Shame, &
the 80s

4. Performance vs Fiction
It is clear early on in Clarke’s Portrait of Jason that the film is a non-
fiction work, due possibly to Jason’s self introduction and narration
of vivid and personal experiences, or Clarke’s manipulation of angle
and camera technique that allows for viewers to feel a closeness to
the story being told.
However, critics often articulate that there is an air of fiction to the
film due to Jason’s obvious, often flamboyant performing styles.

5. Performance vs Fiction
It is my stance that this “performance” stands to illuminate
something much more important than story telling or fictionality.
For the purpose of this presentation, performance will be defined as
an act of staging or presenting for entertainment of an audience.
Jason is certainly doing just this. For instance, the viewer is instantly
informed that Jason Holliday is not the given name of the person
narrating this film, but the name of a self-created man sitting center
screen. This information sets the foundation for performance.

6. Performance vs Fiction
Nonetheless, it is maintained in production that this is a non-fiction
film, and how can that be true. After all we know that actors perform,
and acting is not reality. So where exactly does the balance lie
between performance and fiction in this narrative, and what is the
underlying purpose of that balance. I believe we find the balance in
the film’s title. Moreover, the title is not simply self-named for Jason
Holliday, but instead Portrait of Jason.

7. Performance vs Fiction
And herein lies the non-fiction of this film. Jason Holliday, however
self-made and exuberant in his performance and delivery, is quite a
real person, and the film is not so much a recollection of his
experiences, but a portrait thereof, by and of himself.
And the purpose of this performance in story telling, in contrast to
blatant and concrete recollection, is certainly an underlying topic of
exploration in this presentation.

8. Hustling
I’ve been told — and I do believe it — that I have a
lot of talent. It’s nice in the kitchen, and it’s nice in
the bedroom, and it’s nice in the living room, and it’s
nice at the end of the day to walk away with a few
coins you had fun earning. My motto is, “Find out
what you need to get through a day, make some
provisions for getting it, and don’t bug anybody.”
You can go a long way on that. -Jason

9. Hustling
For this presentation, the use of the word hustling is in reference to
not only sexual prostitution, but the acts of making money out of any
skill or action possible.
Jason Holliday introduces his career as a houseboy to the viewers,
but discloses himself, more importantly, as a hustler.

10. Hustling
While Jason negligently makes the audience aware of a small amount
of his duties in his houseboy career, and also reveals proudly how
lousy he was with said duties, he more consistently explores the
hustling.
Jason confesses his abilities to mock and make a fool of himself, and
sometimes the guests, in front of the company of his rich bosses, for
the purpose of entertainment and revenue.

11. Hustling
In short, Jason has a self-made career built on the exploitation of
both himself and his wealthy, white houseguests. While his duties can
include prostitution, Jason’s form of hustling is certainly more
evolved into a career of performing and entertaining.
And with this knowledge, the viewer is again exposed Jason’s
constant ability to entertain and perform, and we wonder when and
where we are receiving genuinity over the latter.

12. Hustling
“Youcansellsex,comedyandalittle
tragedy—peoplelovetoseeyou
suffer,andbelieveme,I’vesuffered.”

13. Sexuality, Shame, & the 70s
Portrait of Jason debuted in 1967, three years before Stonewall.
This timing is important, because we get an understanding of the
statement a person like Jason made with every sentence he spoke.
Jason is explicit, profane and shameless.

14. Sexuality, Shame, & the 70s
While the LGBT+ community today indulges in Jason’s lack of shame,
it is more than noteworthy to explore what this lack of shame meant
in the 70s.
Jason’s uncensored recollection and proclamation of his sexuality is
nothing short of a political act of deviance to the homosexual climate
at the time, and I believe his ability to perform and storytell so
creatively is most important therein.

15. Sexuality, Shame, & the 70s
Moreover, Jason is explicitly telling a large audience of his
homosexuality and his many sexual liberations, and at the time of the
film (and arguably even today) the proclamation of such things is
inadmissible at best! However, is he boldly mocking a political
climate, or is he performing? Is he anticipating the stonewall riots, or
is he storytelling? Is he engaging in defiance, or is he entertaining?
What I’m getting at is my underlying speculation of this film, the
significance of Jason’s ability to perform.

16. Sexuality, Shame, & the 70s
TennesseeWilliamscouldn’thavedonemeanymorejustice.
Thisismymoment.I’mhereonthethroneandIcansay
whateverIdamnplease.Butit’sgottoberighteous,you
know?Thisismychancetoreallyfeelmyself.Tosay,yeah,I’m
thebitch.Believeit,youknow?Youamateurcuntstakenotice:
I’mthebitch.
JasonHolliday

17. Conclusion
What I intend to leave this audience with is a pondering of three
prominent factors in Portrait of Jason, his performance, his career, and
the time in which he exhibited this lifestyle.
What we have examined together is how Jason’s abilities in
performance allowed him to present non-fiction in vivid, often time-
inappropriate detail, while eluding harsh political backlash and
lacking fictionality in his narrative.