Jump to content

Camp (style)

From Wikipedia, the free encyclopedia
(Redirected from Campiness)

Camp is an aesthetic style and sensibility that regards something as appealing or amusing because of its heightened level of artifice, affectation and exaggeration,[1][2][3] especially when there is also a playful or ironic element.[4][5] Camp is historically associated with LGBTQ+ culture and especially gay men.[2][6][7][8] Camp aesthetics disrupt modernist understandings of high art by inverting traditional aesthetic judgements of beauty, value, and taste, and inviting a different kind of aesthetic engagement.[6]

Camp art is distinct from but often confused with kitsch. The American writer Susan Sontag emphasized its key elements as embracing frivolity, excess and artifice.[9] Art historian David Carrier notes that, despite these qualities, it is also subversive and political.[10] Camp may be sophisticated,[11] but subjects deemed camp may also be perceived as being dated, offensive or in bad taste.[12][5] Camp may also be divided into high and low camp (i.e., camp arising from serious versus unserious matters), or alternatively into naive and deliberate camp (i.e., accidental versus intentional camp).[3][11][13][14] While author and academic Moe Meyer defines camp as a form of "queer parody",[7][8] journalist Jack Babuscio argues it is a specific "gay sensibility" which has often been "misused to signify the trivial, superficial and 'queer'".[15]

Camp, as a particular style or set of mannerisms, may serve as a marker of identity, such as in camp talk, which expresses a gay male identity.[16] This camp style is associated with incongruity or juxtaposition, theatricality, and humour,[17] and has appeared in film, cabaret, and pantomime.[18][19][20] Both high and low forms of culture may be camp,[3][21][8] but where high art incorporates beauty and value, camp often strives to be lively, audacious and dynamic.[6] Camp can also be tragic, sentimental and ironic, finding beauty or black comedy even in suffering.[18] The humour of camp, as well as its frivolity, may serve as a coping mechanism to deal with intolerance and marginalization in society.[5][22]

Origins and development

[edit]

In his 1972 book Gay Talk, writer Bruce Rodgers traces the term camp to 16th century British theatre, where it referred to men dressed as women.[5][23] Camp may have derived from the gay slang Polari,[24] which borrowed the term from the Italian campare,[25][21] or from the French term se camper, meaning "to pose in an exaggerated fashion".[26][27] A similar sense is also found in French theatre in Moliere's 1671 play Les Fourberies de Scapin.[14]

Writer Susan Sontag and linguist Paul Baker place the "soundest starting point" for camp, then meaning flamboyant, as the late 17th and early 18th centuries.[28][29] Writer Anthony Burgess theorized it may have emerged from the primary sense of the word, as in a military encampment, where gay men would subtly advertize their sexuality in all-male company through a particular style and affectation.[30]

By 1870, British crossdresser Frederick Park referred to his "campish undertakings" in a letter produced in evidence at his examination before a magistrate at Bow Street, London, on suspicion of illegal homosexual acts; the letter does not make clear what these were.[31] In 1909, the Oxford English Dictionary gave the first print citation of camp, described as an "etymologically obscure" use of the word, as "ostentatious, exaggerated, affected, theatrical; effeminate or homosexual" behavior.[32] In the UK's pre-liberation gay culture, the term was used as a general description of the aesthetic choices and behavior of working-class gay men.[33][34] The term camp is still sometimes used in the UK to describe a gay man who is perceived as outwardly garish or eccentric, such as Matt Lucas' character Daffyd Thomas in the English comedy skit show Little Britain.[35]

From the mid-1940s, numerous representations of camp speech or camp talk, as used by gay men, began to appear in print in America, France and the United Kingdom.[16] By the mid-1970s, camp was defined by the college edition of Webster's New World Dictionary as "banality, mediocrity, artifice, [and] ostentation ... so extreme as to amuse or have a perversely sophisticated appeal".[36]

Carmen Miranda in the trailer for The Gang's All Here (1943)

In America, the concept of camp was also described by Christopher Isherwood in 1954 in his novel The World in the Evening, and later by Susan Sontag in her 1964 essay 'Notes on "Camp"'.[37] Two key components of the "radical spectacle of camp" were originally feminine performances: swish and drag.[25] With swish's extensive use of superlatives and drag's exaggerated female impersonation, camp occasionally became extended to all things "over the top", including women posing as female impersonators (faux queens) such as Carmen Miranda, while also retaining its meaning as "queer parody".[7][8][38]

In her study of drag, cultural anthropologist Esther Newton argued that camp has three major features: incongruity, theatricality, and humour.[17] In his 1984, writer George Melly argued that the camp sensibility allowed almost anything to be seen as a camp, and that this was a way of projecting one's own queer sensibility upon the world to therefore reclaim it. Conversely, he argued, the biggest threat to camp wasn't heterosexuals ("who tend to accept it, although usually at a fairly broad and superficial level"), but "a neo-puritanism, a received conformism" emerging among gay people at the time.[39]

The rise of postmodernism and queer theory has made camp a common perspective on aesthetics, not solely identified with gay men.[6][40] Women (especially lesbians), trans people, and people of colour have described new forms of camp, such as dyke camp (including subcategories such as cubana and high-femme dyke camp)[41][42] and queer of color camp.[42][43]

Camp has also been a subject of psychoanalytic theory, where it has been portrayed as a form of performance or masquerade. Scholar Cynthia Morrill has argued that the conception of "camp-as-masquerade" ignores the specifically queer sensibility of camp by interrogating queerness through a heteronormative lens (i.e., solely in relation to the symbol of the phallus).[40]

Camp has become prevalent in mainstream popular entertainment such as theatre, cinema, TV and music.[44][38] In reaction to its popularisation, critics such as Jack Babuscio and Jeanette Cooperman have argued that camp requires the alienation of LGBTQ+ people from the mainstream to maintain its edge.[45][46] Poet and scholar Chris Philpot, like Cooperman, nevertheless argues that camp can still be a viable "survival strategy" for marginalized queer people, so long as it evolves with them.[45] Curator Andrew Bolton, after his show Camp: Notes on Fashion at the New York Metropolitan Museum of Art, explains that context is also important for understanding the power and relevance of camp: "Camp tends to come to the fore through moments of social and political instability, when our society is deeply polarized. The 1960s is one such moment, as were the 1980s, so, too, are the times in which we’re living."[46]

Camp in contemporary culture

[edit]

Fashion

[edit]

Patrick Kelly's designs have been described as camp and "Radical Cheek" for his ironic use of bold colours, antiquated or incongruous styles, and reclaimed racist symbols.[47][48] He designed a banana dress in reference to Josephine Baker and dedicated a whole collection to her. He used mismatched buttons when creating his own take on a Chanel suit. By the time he died in 1990, he had dressed noted queer icons such as Grace Jones and Isabella Rossellini. His grave is marked with a stylized golliwog—a reclaimed symbol for his label—featuring big gold earrings and bright red lips.[49][50][47]

Clothing designs from Camp: Notes on Fashion

The 2019 Met Gala's theme was Camp: Notes on Fashion, co-chaired by Anna Wintour, Serena Williams, Lady Gaga, Harry Styles, and Alessandro Michele.[51] The show featured tributes to queer and camp figures, including a bronze statue of the Vatican's Belvedere Antinous, portraits of Louis XIV and Oscar Wilde, and celebrations of Black and Latinx ball culture and the Harlem Renaissance.[46] Dapper Dan—whose luxurious fashion has been credited with camping up the hip-hop genre—designed seven camp outfits for Gucci, worn at the gala by 21 Savage, Omari Hardwick, Regina Hall, Bevy Smith, Ashley Graham and Karlie Kloss (he wore the seventh).[49][52]

Lady Gaga's entrance took 16 minutes, as she arrived to the gala alongside an entourage of five dancers carrying umbrellas, a make up artist, and a personal photographer to snap pictures of Gaga's poses.[53] Gaga arrived in a hot pink Brandon Maxwell gown with a 25-foot train[54] and went through a series of four "reveals," paying homage to drag culture,[53] debuting a new outfit each time, until reaching her final look: a bra and underwear with fishnets and platform heels.[55] Other notable ensembles included Katy Perry wearing a gown that looked like a chandelier, designed by Moschino; and Kacey Musgraves appearing as a life-size Barbie, also by Moschino.[56]

Film

[edit]

Famous representatives of camp films are, for example, John Waters (Pink Flamingos, 1972) and Rosa von Praunheim (The Bed Sausage, 1971), who mainly used this style in the 1970s, and who created films which achieved cult status.[20][57] The 1972 musical Cabaret is also seen as an example of the aesthetic, with film critic Esther Leslie describing the camp in the film thus:

Camp thrives on tragic gestures, on lament at the transience of life, on an excess of sentiment, an ironic sensibility that art and artifice is preferable to nature and health, in a Wildean sense.[18]

Australian writer/director Baz Luhrmann's Red Curtain Trilogy, in particular the film Strictly Ballroom (1992), has been described as camp.[58]

Literature

[edit]

Dandyism is often seen as a precursor to camp, especially as embodied in Oscar Wilde and his work.[14][59] The character of Amarinth in Robert Hichens' The Green Carnation (1894), based on Wilde, uses "camp coding" in his "effusive and inverted" use of language.[17]

The scene where Anthony Blanche arrives late to Sebastian Flyte's lunch party in Evelyn Waugh's Brideshead Revisited, has been described by writer George Melly as an example of camp's "alchemical ability" to project a queer sensibility upon the world and unite one's peers in that sensibility.[39]

The first post-World War II use of the word in print may be Christopher Isherwood's 1954 novel The World in the Evening, where he comments: "You can't camp about something you don't take seriously. You're not making fun of it; you're making fun out of it. You're expressing what's basically serious to you in terms of fun and artifice and elegance."[60]

In the American writer Susan Sontag's 1964 essay Notes on "Camp", Sontag emphasized the embrace of artifice, frivolity, naivety, pretentiousness, offensiveness, and excess as key elements of camp. Examples cited by Sontag included Tiffany lamps, the drawings of Aubrey Beardsley, Tchaikovsky's ballet Swan Lake, and Japanese science fiction films such as Rodan and The Mysterians of the 1950s.[61] However, critics of Sontag's description, such as art historian David Carrier, say that it is outdated and that "her celebration of its ecstatic marginality downplays its implicit subversiveness".[10]

In Mark Booth's 1983 book Camp, he defines camp as "to present oneself as being committed to the marginal with a commitment greater than the marginal merits".[62] He makes a distinction between genuine camp, and camp fads and fancies — things that are not intrinsically camp, but display artificiality, stylization, theatricality, naivety, sexual ambiguity, tackiness, poor taste, stylishness, or camp people, and thus appeal to them.[63]

In his 1984 book Camp: The Lie That Tells The Truth, writer and artist Philip Core describes Jean Cocteau's autobiography as "the definition of camp".[64]

In 1993, journalist Russell Davies published comedian Kenneth Williams' diaries. Williams' diary entry for 1 January 1947 reads: "Went to Singapore with Stan—very camp evening, was followed, but tatty types so didn't bother to make overtures."[65]

Music

[edit]
Cher
Madonna
Katy Perry
Camp costuming worn by American pop singers Cher, Madonna, and Katy Perry

American singer and actress Cher is one of the artists who received the title of "Queen of Camp" through her colourful on-stage fashion and live performances.[66] She gained this status in the 1970s when she launched her variety shows in collaboration with the costume designer Bob Mackie and became a constant presence on American prime-time television.[67][68] Madonna is also considered camp and according to educator Carol Queen, her "whole career up to and including Sex has depended heavily on camp imagery and camp understandings of gender and sex".[69] Madonna has also been named "Queen of Camp".[70]

In public and on stage, Dusty Springfield developed an image supported by her peroxide blonde beehive hairstyle, evening gowns, and heavy make-up that included her much-copied "panda eye" look.[71][72][73][74][75] Springfield borrowed elements of her look from blonde glamour queens of the 1950s, such as Brigitte Bardot and Catherine Deneuve.[76][77] This, her singing style and her sexuality made her a "camp icon" and won her a following in the gay community.[75][77] Besides the prototypical female drag queen, she was presented in the roles of the "Great White Lady" of pop and soul, and the "Queen of Mods".[73][78]

Rappers such as Lil' Kim, Nicki Minaj and Cam’ron have all been described as camp, often because of the opulence and winking humour of their personas. Dapper Dan has been credited with introducing high fashion and camp to hip hop. In pop and rock, musicians Prince and Jimi Hendrix have also been called camp because of their flamboyance and playful use of artifice.[49]

South Korean rapper Psy, known for his viral internet music videos full of flamboyant dance and visuals, has come to be seen as a 21st-century incarnation of camp style.[79][80] Geri Halliwell is recognized as a camp icon for her high camp aesthetics, performance style and kinship with the gay community during her time as a solo artist.[81][82]

Dancer, singer and actress Josephine Baker has been described as camp. Her famous banana dress has been noted as particularly camp for its flamboyant, humorous and ironic qualities, as well as the way it makes a political point using outdated but reclaimed imagery.[83][84][29]

Lady Gaga, a contemporary exemplar of camp, uses music and dance to make social commentary on pop culture, as in the "Judas" music video. Her clothes, makeup, and accessories, created by high-end fashion designers, are integral to the narrative structure of her performances.[85] Katy Perry has also been described as camp, with outlets like Vogue describing her as another "Queen of Camp".[86]

The British tradition of the "Last Night of the Proms" has been said to glory in "nostalgia, camp, and pastiche".[87] Camp still forms a strong element in UK culture, and many so-called gay icons and objects are chosen as such because they are camp, including musicians such as Elton John,[88] Kylie Minogue, Lulu, and Mika.[citation needed]

Musicologist Philip Brett has highlighted campness in the work of Benjamin Britten and has also argued for a camp reading of French composer Francis Poulenc's Concerto for Two Pianos in D minor, noting its combination of a Balinese gamelan with a sense of "musical resignation and longing".[22]

Musicologist Raymond Knapp has compared musical camp to jazz, especially in camp's playfulness and admiration for its subjects, which can seem mocking but often borders on veneration. He argues that musical camp draws attention to its performativity and inspirations, while engaging the audience interactively in the process of creating meaning.[89]

Photography

[edit]

Thomas Dworzak published a collection of "last portrait" photographs of young Taliban soldiers about to depart for the front, found in Kabul photo studios. The book, titled Taliban,[90][91] attests to a campy aesthetic, quite close to the gay movement in California or a Peter Greenaway film.[92]

Television

[edit]

The Comedy Central television show Strangers with Candy (1999–2000), starring comedian Amy Sedaris, was a camp spoof of the ABC Afterschool Special genre.[93][94][95] Inspired by the work of George Kuchar and his brother Mike Kuchar, ASS Studios began making a series of short, no-budget camp films. Their feature film Satan, Hold My Hand (2013) features many elements recognized in camp pictures.[96][97]

Since 2000, the Eurovision Song Contest, an annually televised competition of song performers from different countries, has shown an increasing element of camp—since the contest has shown an increasing attraction within the LGBTQ+ communities—in their stage performances. This is especially true during the televised finale, which is screened live across Europe. As it is a visual show, many Eurovision performances attempt to attract the attention of voters through means other than the music, which sometimes leads to bizarre onstage gimmicks, and what some critics have called "the Eurovision kitsch drive", with almost cartoonish novelty acts performing.[98]

Theatre

[edit]

The Australian theatre and opera director Barrie Kosky is renowned for his use of camp in interpreting the works of the Western canon, including Shakespeare, Wagner, Molière, Seneca and Kafka. His 2006 eight-hour production for the Sydney Theatre Company The Lost Echo was based on Ovid's Metamorphoses and Euripides's The Bacchae. In the first act ("The Song of Phaeton"), for instance, the goddess Juno takes the form of a highly stylized Marlene Dietrich, and the musical arrangements feature Noël Coward and Cole Porter. Kosky's use of camp is also effectively employed to satirize the pretensions, manners, and cultural vacuity of Australia's suburban middle class, which is suggestive of the style of Dame Edna Everage. For example, in The Lost Echo, Kosky employs a chorus of high school students: one girl in the chorus takes leave from the goddess Diana, and begins to rehearse a dance routine, muttering to herself in a broad Australian accent, "Mum says I have to practice if I want to be on Australian Idol."[99]

In the UK, the music hall tradition of pantomime, which often uses drag and other features of camp, remains a popular form of entertainment for families and young children. Most towns and cities in the UK stage at least one pantomime between November and February, drawing in an estimated £146 million in 2014.[19]

Distinguishing between kitsch and camp

[edit]

The words camp and kitsch are often used interchangeably, though they are distinct. Camp is rooted in a specifically queer sensibility, informed by queer identity and culture,[12][40] whereas kitsch is rooted in the rise of mass-produced art and popular culture for the mainstream.[100] Both terms may relate to an object or work that carries aesthetic value, but kitsch refers specifically to the work itself, whereas camp is a sensibility as well as a mode of performance. A person may consume kitsch intentionally or unintentionally, but camp, as Susan Sontag observed, is always a way of consuming or performing culture "in quotation marks".[28]

Sontag also distinguishes between naïve and deliberate camp,[61] and examines Christopher Isherwood's distinction between low camp — which he associated with cross-dressing and drag performances — and high camp — which included "the whole emotional basis of the Ballet, for example, and of course of Baroque art".[101] High camp has also been used to describe drag that is more subtle or ironic, as opposed to drag that is more parodic and obvious (and thus low camp).[102][103]

According to sociologist Andrew Ross, camp combines outmoded and contemporary forms of style, fashion, and technology. Often characterized by the reappropriation of a "throwaway Pop aesthetic", camp works to intermingle the categories of "high" and "low" culture.[104] Objects may become camp objects because of their historical association with a power now in decline. As opposed to kitsch, camp reappropriates culture in an ironic fashion, whereas kitsch is indelibly sincere. Additionally, kitsch may be seen as a quality of an object, while camp "tends to refer to a subjective process".[105] Those who identify objects as "camp" note the distance often apparent in the process through which "unexpected value can be located in some obscure or exorbitant object."[106]

In its subversiveness and irony, camp can also suggest the possibility of overturning the status quo, making it a far more "radical spectacle" than kitsch.[25] Musicologist Philip Brett has described camp as:

a strategy which confronts un-queer ontology [states of being] and homophobia with humor and which by those same means may also signal the possibility of the overturn of that ontology—as when, on a famous night in 1969, the evening of the funeral of Judy Garland, the mood of a group of gays and drag queens reveling in the spectacle of their own arrest by members of the New York City Vice Squad at the Stonewall Bar turned to one of rage and produced the event that solidified the lesbian and gay movement.[22]

See also

[edit]

References

[edit]
  1. ^ "Definition of CAMP". www.merriam-webster.com. 1 August 2024. Retrieved 9 August 2024.
  2. ^ a b "Definition of 'camp'". Collins Dictionary. HarperCollins Publishers. Retrieved 9 August 2024.
  3. ^ a b c "What does it mean to be camp?". www.bbc.com. Retrieved 9 August 2024.
  4. ^ “Camp, Adj., Sense 3.” Oxford English Dictionary. Oxford: Oxford University Press, 2023. https://doi.org/10.1093/OED/1024137863.
  5. ^ a b c d "glbtq >> literature >> Camp". web.archive.org. 8 February 2012. Retrieved 9 August 2024.
  6. ^ a b c d Kerry Malla (January 2005). Roderick McGillis (ed.). "Between a Frock and a Hard Place: Camp Aesthetics and Children's Culture". Canadian Review of American Studies. 35 (1): 1–3. Retrieved 10 October 2019.
  7. ^ a b c Moe Meyer (2010): An Archaeology of Posing: Essays on Camp, Drag, and Sexuality, Macater Press, ISBN 978-0-9814924-5-2.
  8. ^ a b c d Moe Meyer (2011): The Politics and Poetics of Camp, Routledge, ISBN 978-0-415-51489-7.
  9. ^ Harry Eiss (11 May 2016). The Joker. Cambridge Scholars Publishing. p. 26. ISBN 978-1-4438-9429-6.
  10. ^ a b Carrier, David (2 February 1995). "CRITICAL CAMP". Artforum. Retrieved 10 August 2024.
  11. ^ a b Sontag, Susan (15 February 2022) [1999], "Notes on 'Camp'", Camp: Queer Aesthetics and the Performing Subject: A Reader, Edinburgh: Edinburgh University Press, p. 53, doi:10.1515/9781474465809-006, ISBN 978-1-4744-6580-9, retrieved 9 August 2024
  12. ^ a b Babuscio (1993, 20), Feil (2005, 478), Morrill (1994, 110), Shugart and Waggoner (2008, 33), and Van Leer (1995)
  13. ^ Harry Eiss (11 May 2016). The Joker. Cambridge Scholars Publishing. p. 11. ISBN 978-1-4438-9429-6.
  14. ^ a b c Dansky, Steven F. "On the persistence of camp." The Gay & Lesbian Review Worldwide 20, no. 2 (2013): 15-19.
  15. ^ Babuscio, J., 1999. The cinema of camp (aka camp and the gay sensibility). Camp: Queer aesthetics and the performing subject: A reader, pp.117-35.
  16. ^ a b Harvey, Keith (31 January 1998). "Translating Camp Talk: Gay Identities and Cultural Transfer". The Translator. 4 (2): 295–320. doi:10.1080/13556509.1998.10799024. ISSN 1355-6509.
  17. ^ a b c "glbtq >> literature >> Camp". web.archive.org. 8 October 2011. Retrieved 9 August 2024.
  18. ^ a b c Leslie, Esther (2022), Storey, Mark; Shapiro, Stephen (eds.), "Schlock, Kitsch, and Camp", The Cambridge Companion to American Horror, Cambridge Companions to Literature, Cambridge: Cambridge University Press, pp. 91–104 (96), doi:10.1017/9781009071550.008, ISBN 978-1-316-51300-2, retrieved 9 August 2024
  19. ^ a b Sladen, Simon (2017). "'Hiya Fans!' Celebrity Performance and Reception in Modern British Pantomime". In Ainsworth, Adam; Double, Oliver; Peacock, Louise (eds.). Popular performance. London Oxford New York New Delhi Sydney: Bloomsbury Methuen Drama. p. 179. ISBN 978-1-4742-4734-4.
  20. ^ a b "John Waters: King of Camp and Auteur of Cult Trash". Film Daze. 12 June 2019. Retrieved 5 March 2022.
  21. ^ a b Baker, Paul (2004). Fantabulosa: a dictionary of Polari and gay slang. London: Continuum. p. 18. ISBN 978-0-8264-7343-1. OCLC 55587437.
  22. ^ a b c Brett, Philip. "Queer Musical Orientalism". ECHO. University of California. Retrieved 9 August 2024.
  23. ^ Rodgers, Bruce (1979). Gay Talk: a (sometimes outrageous) dictionary of gay slang. A Paragon book (Reprint ed.). New York: Paragon books. ISBN 978-0-399-50392-4.
  24. ^ "camp". Oxford English Dictionary, Second Edition. Oxford: Oxford University Press, 1989.
  25. ^ a b c Luu, Chi (6 June 2018). "The Unspeakable Linguistics of Camp". JSTOR Daily. Retrieved 9 August 2024.
  26. ^ Harper, Douglas. "camp (adj.)". Online Etymology Dictionary. Archived from the original on 14 September 2016. Retrieved 21 August 2016.
  27. ^ Entry "camper" Archived 14 May 2011 at the Wayback Machine, in: Dictionnaire de l'Académie française, ninth edition (1992). "2. Fam: Placer avec fermeté, avec insolence ou selon ses aises.] Il me parlait, le chapeau campé sur la tête. Surtout pron. Se camper solidement dans son fauteuil. Se camper à la meilleure place. Il se campa devant son adversaire. 3. En parlant d'un acteur, d'un artiste: Figurer avec force et relief. Camper son personnage sur la scène. Camper une figure dans un tableau, des caractères dans un roman." (Familiar: To assume a defiant, insolent or devil-may-care attitude. Theatre: To perform with forcefulness and exaggeration; to overact; To impose one's character assertively into a scene; to upstage.)
  28. ^ a b Susan Sontag (2 July 2009). Against Interpretation and Other Essays. Penguin Modern Classics. ISBN 978-0-14-119006-8. Archived from the original on 2 June 2013. Retrieved 6 September 2011.
  29. ^ a b Baker, Paul (2023). Camp!. London Stockholm: Footnote Press. p. 15. ISBN 978-1-80444-032-2.
  30. ^ "Camp". www.worldwidewords.org. Retrieved 10 August 2024.
  31. ^ 'My "campish undertakings" are not meeting with the success they deserve. Whatever I do seems to get me into hot water somewhere;...':The Times(London), 30 May 1870, p. 13, 'The Men in Women's Clothes'
  32. ^ Gipson, Ferren (23 April 2019). "Art Matters podcast: an introduction to the camp aesthetic | Art UK". Art UK. Retrieved 14 October 2022.
  33. ^ Esther Newton (1978): Mother Camp: Female Impersonators in America, University of Chicago Press. Mother Camp: Female Impersonators in America in libraries (WorldCat catalog).
  34. ^ Leslie, Esther (2022), Storey, Mark; Shapiro, Stephen (eds.), "Schlock, Kitsch, and Camp", The Cambridge Companion to American Horror, Cambridge Companions to Literature, Cambridge: Cambridge University Press, pp. 91–104 (95), doi:10.1017/9781009071550.008, ISBN 978-1-316-51300-2, retrieved 9 August 2024
  35. ^ Lindner, Oliver (2016), Kamm, Jürgen; Neumann, Birgit (eds.), "The Comic Nation: Little Britain and the Politics of Representation", British TV Comedies: Cultural Concepts, Contexts and Controversies, London: Palgrave Macmillan UK, pp. 326–340, doi:10.1057/9781137552952_22, ISBN 978-1-137-55295-2, retrieved 9 August 2024
  36. ^ Webster's New World Dictionary of the American Language, 1976 edition, sense 6, [Slang, orig., homosexual jargon, Americanism] banality, mediocrity, artifice, ostentation, etc. so extreme as to amuse or have a perversely sophisticated appeal
  37. ^ Susan Sontag (14 June 2019). Notes on "Camp". Picador. p. 4. ISBN 978-1-250-62134-4.
  38. ^ a b Cohan, Steven. Incongruous entertainment: Camp, cultural value, and the MGM musical. Duke University Press, 2005. p.11, 274.
  39. ^ a b Core, Philip (1984). Camp: the lie that tells the truth. New York: Delilah Books. p. 5. ISBN 978-0-933328-83-9.
  40. ^ a b c Morrill, Cynthia. "Revamping the Gay Sensibility: Queer Camp and dyke noir." In Moe Meyer (ed). The Politics and Poetics of Camp. Routledge, 2005. p.94.
  41. ^ Clements, Mikaella (25 November 2016). "Notes on dyke camp". The Outline. Retrieved 9 August 2024.
  42. ^ a b Lim, Eng-Beng (2015). "A Performative Presidency". American Quarterly. 67 (2): 301–307. ISSN 1080-6490.
  43. ^ Dominguez, Alessa (1 May 2015). ""I'm Very Rich, Bitch!": The Melodramatic Money Shot and the Excess of Racialized Gendered Affect in the Real Housewives Docusoaps". Camera Obscura: Feminism, Culture, and Media Studies. 30 (1): 155–183. doi:10.1215/02705346-2885486. ISSN 0270-5346.
  44. ^ Kerry Malla (January 2005). Roderick McGillis (ed.). "Between a Frock and a Hard Place: Camp Aesthetics and Children's Culture". Canadian Review of American Studies. 35 (1): 1–3. Retrieved 10 October 2019.
  45. ^ a b Philpot, Chris (2017). "Diva Worship in a Queer Poetic of Waste in D. Gilson's Brit Lit". In Drushel, Bruce E.; Peters, Brian M. (eds.). Sontag and the camp aesthetic: advancing new perspectives. Media, culture, and the arts. Lanham: Lexington Books. p. 66. ISBN 978-1-4985-3777-3.
  46. ^ a b c Cooperman, Jeannette (30 January 2020). "Is Camp Still "Camp"?". Common Reader. Retrieved 10 August 2024.
  47. ^ a b "Patrick Kelly's Radical Cheek (washingtonpost.com)". www.washingtonpost.com. Retrieved 10 August 2024.
  48. ^ Barnes, Sequoia (20 December 2017). ""If You Don't Bring No Grits, Don't Come": Critiquing a Critique of Patrick Kelly, Golliwogs, And Camp as A Technique of Black Queer Expression". Open Cultural Studies. 1 (1): 678–689. doi:10.1515/culture-2017-0062. ISSN 2451-3474.
  49. ^ a b c Newman, Scarlett (3 May 2019). "Who Are the Black Icons of Camp?". Teen Vogue. Retrieved 10 August 2024.
  50. ^ Segran, Elizabeth (13 February 2019). "Rediscovering Patrick Kelly, the designer who made blackface his brand". Fast Company. Retrieved 10 August 2024.
  51. ^ Yang, Lucy (7 May 2019). "The 2019 Met Gala's theme is 'camp' — here's what you should expect to see on the red carpet". Insider. Retrieved 25 August 2022.
  52. ^ "At the Met Gala, Dapper Dan Stands By Gucci and Stands Up to Cancel Culture". ELLE. 6 May 2019. Retrieved 10 August 2024.
  53. ^ a b "Lady Gaga perfectly captured 'camp' at the Met Gala by paying homage to drag culture". British GQ. 7 May 2019. Retrieved 25 August 2022.
  54. ^ "See How Lady Gaga Pulled Off the Greatest Met Gala Entrance of All Time". Vogue. 10 May 2019. Retrieved 25 August 2022.
  55. ^ "Lady Gaga Just Had 4 Outfit Changes on the Met Gala Red Carpet and We're Deceased". Harper's BAZAAR. 6 May 2019. Retrieved 25 August 2022.
  56. ^ "Photos from Moschino's Most Memorable Met Gala Looks". E! Online. 13 September 2021. Retrieved 25 August 2022.
  57. ^ Kapczynski, Jennifer M.; Richardson, Michael David (2012). A New History of German Cinema. Boydell & Brewer. ISBN 9781571135957. Retrieved 5 March 2022. {{cite book}}: |work= ignored (help)
  58. ^ Gluyas, Sophia Davidson (1 March 2014). "Dancing Federation Steps: A (queer) lesbian reading of Strictly Ballroom". Intersectional Perspectives: Identity, Culture, and Society. 4 (1). doi:10.18573/ipics.66. ISSN 2042-387X.
  59. ^ Mills, Victoria (2010), Calè, Luisa; Di Bello, Patrizia (eds.), "Dandyism, Visuality and the 'Camp Gem': Collections of Jewels in Huysmans and Wilde", Illustrations, Optics and Objects in Nineteenth-Century Literary and Visual Cultures, London: Palgrave Macmillan UK, pp. 147–166, doi:10.1057/9780230297395_8, ISBN 978-0-230-29739-5, retrieved 10 August 2024
  60. ^ Lowder, J. Bryan (15 April 2013). "Can Camp Be Taken Seriously?". Slate. ISSN 1091-2339. Retrieved 10 August 2024.
  61. ^ a b Susan Sontag. "Notes On "Camp"". faculty.georgetown.edu. Archived from the original on 1 October 2019. Retrieved 10 October 2019.
  62. ^ Booth, Mark (1983). Camp. London Melbourne New York: Quartet Books. p. 18. ISBN 978-0-7043-2353-7.
  63. ^ Booth, Mark W. (1983). Camp. London; New York: Quartet. p. 20. ISBN 978-0-7043-2353-7.
  64. ^ Core, Philip (1984). Camp: the lie that tells the truth. New York: Delilah Books. p. 9. ISBN 978-0-933328-83-9.
  65. ^ Russell Davies (1993) The Kenneth Williams Diaries, Harper-Collins Publishers ISBN 978-0-00-255023-9
  66. ^ "She's Reigned Pop Land since the 70s, She's the Queen of Camp, She Believes in Life after Love. She's Cher, and She's Still Fantastic". Sunday Mirror. Archived from the original on 29 May 2016. Retrieved 21 April 2016.
  67. ^ White, Belinda (24 July 2015). "Cher is Love magazine's latest cover 'girl' at 69". The Daily Telegraph. Archived from the original on 18 November 2018. Retrieved 21 April 2016.
  68. ^ "Cher-ishing the Queen of Camp". Daily News. New York. Archived from the original on 4 November 2017. Retrieved 21 April 2016.
  69. ^ Gnojewski, Carol (2007). Madonna: Express Yourself. Enslow Publishing. p. 114. ISBN 978-0-7660-2442-7. Retrieved 31 March 2022 – via Google Books.
  70. ^ Drushe, Bruce E.; Peters, Brian M. (2017). Chapter 12, Camp, Androgyny, and 1990: Strike a Pose. Lexington Books. p. 216. ISBN 978-1-4985-3777-3. Retrieved 31 March 2022 – via Google Books. {{cite book}}: |work= ignored (help)
  71. ^ Peter Silverton. "Dusty Springfield (British singer) – Encyclopædia Britannica". Britannica.com. Archived from the original on 28 September 2013. Retrieved 17 August 2013.
  72. ^ Annie J. Randall (Fall 2005). "Dusty Springfield and the Motown Invasion". Newsletter. 35 (1). Institute for Studies in American Music, Conservatory of Music, Brooklyn College of the City University of New York. Archived from the original on 25 June 2012. Retrieved 17 August 2013.
  73. ^ a b Laurense Cole (2008) Dusty Springfield: in the middle of nowhere, Middlesex University Press. p. 13.
  74. ^ Charles Taylor (1997). Mission Impossible: The perfectionist rock and soul of Dusty Springfield, Boston Phoenix.
  75. ^ a b "Springfield, Dusty". glbtq – An Encyclopedia of Gay, Lesbian, Bisexual, Transgender and Queer Culture. 2005. Archived from the original on 15 July 2012. Retrieved 17 August 2013.
  76. ^ Annie J. Randall, Associate Professor of Musicology Bucknell University (2008). Dusty! : Queen of the Post Mods: Queen of the Post Mods. Oxford University Press. ISBN 9780199716302. Archived from the original on 16 January 2017. Retrieved 17 August 2013.
  77. ^ a b Bob Gulla (2007) Icons of R&B and Soul: An Encyclopedia of the Artists Who Revolutionized Rhythm, Greenwood Publishing Group ISBN 978-0-313-34044-4
  78. ^ Patricia Juliana Smith (1999) "'You Don't Have to Say You Love Me': The Camp Masquerades of Dusty Springfield", The Queer Sixties pp. 105–126, Routledge, London ISBN 978-0-415-92169-5
  79. ^ "Exploring Psy's Digital Dandy Appeal In 'Gangnam Style' " Archived 22 January 2014 at the Wayback Machine (3 October 2012) Rolling Stone (retrieved 21 April 2013)
  80. ^ Rauhala, Emily (13 April 2013), "Psy Unveils His New 'Gentleman' Video and Dance at Extravagant Seoul Concert", Time, archived from the original on 17 April 2013, retrieved 21 April 2013
  81. ^ "Geri Horner talks Spice Girls, solo regrets and her kinship with the gay community". Attitude. 5 January 2017. Archived from the original on 20 February 2021. Retrieved 10 January 2021.
  82. ^ Kelly, Emma (11 December 2020). "Geri Horner threatened with assassination on stage by Admiral Duncan nail bomber". Metro. Retrieved 10 January 2021.
  83. ^ Francis, Terri Simone. Josephine Baker's Cinematic Prism. Indiana University Press, 2021. p. x
  84. ^ Jules-Rosette, Bennetta. "Spectacular Dress: Africanisms in the Fashions and Performances of Josephine Baker, 1925–1975". In African Dress: Fashion, Agency, Performance. London: Bloomsbury Academic, 2013. pp.204-16.
  85. ^ Stan Hawkins (3 January 2014). "I'll bring You Down, Down, Down'". In Martin Iddon; Melanie L. Marshall (eds.). Lady Gaga and Popular Music: Performing Gender, Fashion, and Culture. Routledge. pp. 17–18. ISBN 978-1-134-07987-2.
  86. ^ Allaire, Christian (2 January 2022). "Katy Perry Is Still the Queen of Camp". Vogue. Retrieved 3 January 2022.
  87. ^ Compare: Miller, W. Watts (2002), "Secularism and the sacred: is there really something called 'secular religion'?", in Idinopulos, Thomas A.; Wilson, Brian C. (eds.), Reappraising Durkheim for the study and teaching of religion today, Numen book series, vol. 92, Brill, pp. 38–39, ISBN 9004123393, archived from the original on 2 June 2013, retrieved 21 November 2010, An English example of how the life has gone out of lieux de memoire concerns William Blake's hymn about the building of a New Jerusalem. it is still sung every year in London 's Albert Hall on the Last Night of the Proms. But it is in a fervor without faith. It brings tears to the eyes, only it is in a mixture of nostalgia, camp, 'post-modernism,' and pastiche.
  88. ^ Armstrong, Robert (23 May 2019). "Rock it, man — what Elton John teaches us about style". Financial Times. Archived from the original on 10 December 2022. Retrieved 12 July 2021.
  89. ^ Knapp, Raymond (2018). Making light: Haydn, musical camp, and the long shadow of German idealism. Durham London: Duke University Press. pp. 164–165. ISBN 978-0-8223-7240-0.
  90. ^ Traff, Thea (29 March 2014). "Thomas Dworzak's Taliban Glamour Shots". The New Yorker. Archived from the original on 27 November 2014. Retrieved 15 November 2014.
  91. ^ "2000, Thomas Dworzak, 1st prize, Spot News stories". World Press Photo. 13 January 2014. Archived from the original on 29 November 2014. Retrieved 15 November 2014.
  92. ^ "Vom Nachttisch geräumt nachttisch 10.6.03 vom 10 June 2003 von Arno Widmann – Perlentaucher". perlentaucher.de. Archived from the original on 4 March 2016. Retrieved 27 November 2015.
  93. ^ Maasik, Sonia; Solomon, Jack Fisher (2011). Signs of Life in the USA: Readings on Popular Culture for Writers. Bedford/St. Martin's. ISBN 9780312647001. Retrieved 9 August 2017.
  94. ^ "'Strangers with Candy': After-school special, Sedaris style". Orange County Register. 6 July 2006. Archived from the original on 6 August 2017. Retrieved 19 May 2019.
  95. ^ "'Strangers with Candy': After-school special, Sedaris style". 6 July 2006. Archived from the original on 6 August 2017. Retrieved 6 August 2017.
  96. ^ filmmakermagazine.com/27295-courtney-fathom-sells-hi-8-hi...
  97. ^ "COURTNEY FATHOM SELL: SO YOU WANNA BE AN UNDERGROUND FILMMAKER?". Filmmaker Magazine. Archived from the original on 27 June 2015. Retrieved 23 March 2015.
  98. ^ Allatson, Paul (2007). "'Antes cursi que sencilla': Eurovision Song Contests and the Kitsch-Drive to Euro-Unity". Culture, Theory and Critique. 48 (1): 87–98. doi:10.1080/14735780701293540. S2CID 146449408.
  99. ^ Smale, Alison (22 April 2015). "Australian director brings Berlin's complexity to the opera stage; Novel style wins acclaim and younger audiences for the Komische Oper". International New York Times: NA–NA. Retrieved 9 August 2024 – via Gale Academic OneFile.
  100. ^ Menninghaus, Winfried (2009). "On the Vital Significance of 'Kitsch': Walter Benjamin's Politics of 'Bad Taste'". In Andrew Benjamin and Charles Rice (ed.). Walter Benjamin and the Architecture of Modernity. re.press. pp. 39–58. ISBN 9780980544091.
  101. ^ Anna Malinowska (26 September 2014). "1, section 1: Bad Romance: Pop and Camp in Light of Evolutionary Confusion". In Justyna Stępień (ed.). Redefining Kitsch and Camp in Literature and Culture. Cambridge Scholars Publishing. p. 11. ISBN 978-1-4438-6779-5.
  102. ^ "glbtq >> arts >> Drag Shows: Drag Queens and Female Impersonators". web.archive.org. 4 June 2011. Retrieved 9 August 2024.
  103. ^ Wren, Daniel (25 July 2014). "A fool's guide to drag 'types'". Retrieved 9 August 2024.
  104. ^ Ross, Andrew (1989). No Respect: Intellectuals and Popular Culture. New York: Routledge. p. 136.
  105. ^ Ross, Andrew (1989). No Respect: Intellectuals and Popular Culture. New York: Routledge. p. 145.
  106. ^ Ross, Andrew (1989). No Respect: Intellectuals and Popular Culture. New York: Routledge. p. 146.

Sources

[edit]
  • Babuscio, Jack (1993) "Camp and the Gay Sensibility" in Camp Grounds: Style and Homosexuality, David Bergman Ed., U of Massachusetts, Amherst ISBN 978-0-87023-878-9
  • Feil, Ken (2005) "Queer Comedy", in Comedy: A Geographic and Historical Guide Vol. 2. pp. 19–38, 477–492, Maurice Charney Ed., Praeger, Westport, CN ISBN 978-0-313-32715-5
  • Levine, Martin P. (1998) Gay Macho, New York UP, New York ISBN 0-8147-4694-2
  • Meyer, Moe, Ed. (1994) The Politics and Poetics of Camp, Routledge, London and New York ISBN 978-0-415-08248-8
    • Morrill, Cynthia (1994) "Revamping the Gay Sensibility: Queer Camp and dyke noir" (In Meyer pp. 110–129)
  • Helene A. Shugart and Catherine Egley Waggoner (2008) Making Camp: Rhetorics of Transgression in U.S. Popular Culture, U of Alabama P., Tuscaloosa ISBN 978-0-8173-5652-1
  • Van Leer, David (1995) The Queening of America: Gay Culture in Straight Society, Routledge, London and New York ISBN 978-0-415-90336-3

Further reading

[edit]
  • Baker, Paul (2023). Camp! The Story of the Attitude that Conquered the World. London: Footnote Press. ISBN 978-1804440339
  • Core, Philip (1984/1994). CAMP, The Lie That Tells the Truth, foreword by George Melly. London: Plexus Publishing Limited. ISBN 0-85965-044-8
  • Cleto, Fabio, editor (1999). Camp: Queer Aesthetics and the Performing Subject. Ann Arbor: University of Michigan Press. ISBN 0-472-06722-2.
  • Padva, Gilad (2008). "Educating The Simpsons: Teaching Queer Representations in Contemporary Visual Media". Journal of LGBT Youth 5(3), 57–73.
  • Padva, Gilad and Talmon, Miri (2008). "Gotta Have An Effeminate Heart: The Politics of Effeminacy and Sissyness in a Nostalgic Israeli TV Musical". Feminist Media Studies 8(1), 69–84.
  • Padva, Gilad (2005). "Radical Sissies and Stereotyped Fairies in Laurie Lynd's The Fairy Who Didn't Want To Be A Fairy Anymore". Cinema Journal 45(1), 66–78.
  • Padva, Gilad (2000). "Priscilla Fights Back: The Politicization of Camp Subculture". Journal of Communication Inquiry 24(2), 216–243.
  • Meyer, Moe, editor (1993). The Politics and Poetics of Camp. Routledge. ISBN 0-415-08248-X.
  • Sontag, Susan (1964). "Notes on Camp" in Against Interpretation and Other Essays. New York: Farrar, Straus & Giroux. ISBN 0-312-28086-6.
[edit]