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Camp (style)

From Wikipedia, the free encyclopedia
"Campy" redirects here. For other uses, see Campy (disambiguation).

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 intentional 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's essay 'Notes on "Camp"' (1964) emphasized its key elements as embracing frivolity, excess and artifice.[9] Camp may be sophisticated,[10] but subjects deemed camp may also be perceived as being ironic or in bad taste.[11] Camp is also sometimes 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][10][12][13] Author and academic Moe Meyer has defined camp as a form of "queer parody",[7][8] while journalist Jack Babuscio argues it is a specific "gay sensibility" which has often been "misused to signify the trivial, superficial and 'queer'".[14]

Camp can also be a particular style or set of mannerisms that serve as a marker of identity. This style is associated with incongruity, theatricality, and humor,[15] and appears in film, cabaret, and pantomime. Both high and low forms of culture may be camp,[3][16][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.[17] The humor of camp may serve as a coping mechanism to deal with intolerance in society.[5][18]

Origins and development

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Camp may have derived from the gay slang Polari, which borrowed the term from the Italian campare,[19][16] or from the French term se camper, meaning "to pose in an exaggerated fashion".[20][21] A similar sense is found in French as early as 1671, in Moliere's play Les Fourberies de Scapin.[13] 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.[22][23]

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.[24] 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.[25] 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.[26][27] 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.[28]

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.[29] 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".[30]

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"'.[31] Two key components of the "radical spectacle of camp" were originally feminine performances: swish and drag.[19] 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][32] It also became prevalent in mainstream popular entertainment such as theatre, cinema, TV and music.[6][32]

In her study of drag, cultural anthropologist Esther Newton argued that camp has three major features: incongruity, theatricality, and humor.[15]

The rise of postmodernism and queer theory has made camp a common perspective on aesthetics, not solely identified with gay men.[6][33] 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)[34][35] and queer of color camp.[35][36]

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).[33]

Camp in contemporary culture

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Fashion

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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.[37] 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.[38] Gaga arrived in a hot pink Brandon Maxwell gown with a 25-foot train[39] and went through a series of four "reveals," paying homage to drag culture,[38] debuting a new outfit each time, until reaching her final look: a bra and underwear with fishnets and platform heels.[40] 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.[41]

Film

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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, created films which achieved a cult status.[42][43] 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.[17]

Australian writer/director Baz Luhrmann's Red Curtain Trilogy, in particular the film Strictly Ballroom (1992), has been described as camp.[44]

Literature

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Dandyism is often seen as a precursor to camp, especially as embodied in Oscar Wilde.[13] 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.[15]

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."

In the American writer Susan Sontag's 1964 essay Notes on "Camp", Sontag emphasized artifice, frivolity, naïve middle-class pretentiousness, and shocking 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.[citation needed]

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". 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 portray camp people, and thus appeal to them.[citation needed]

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."[45]

Music

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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 outrageous on-stage fashion and live performances.[46] 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.[47][48] Madonna is another example of 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".[49] By some point of her career, Madonna was also named "Queen of Camp".[50]

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.[51][52][53][54][55] Springfield borrowed elements of her look from blonde glamour queens of the 1950s, such as Brigitte Bardot and Catherine Deneuve.[56][57] This and her singing style made her a "camp icon" and won her a following in the gay community.[55][57] 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".[53][58]

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.[59][60] Geri Halliwell is recognised as a camp icon for her high camp aesthetics, performance style and kinship with the gay community during her time as a solo artist.[61][62] Lady Gaga, a contemporary exemplar of camp, uses music and dance to make social commentary on pop culture, as in the Judas video. Her clothes, makeup, and accessories, created by high-end fashion designers, are integral to the narrative structure of her performances.[63] Katy Perry is another example of camp with outlets like Vogue describing her as the "Queen of Camp".[64]

The British tradition of the "Last Night of the Proms" has been said to glory in "nostalgia, camp, and pastiche".[65] 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,[66] 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".[18]

Photography

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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,[67][68] attests to a campy aesthetic, quite close to the gay movement in California or a Peter Greenaway film.[69]

Television

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The Comedy Central television show Strangers with Candy (1999–2000), starring comedian Amy Sedaris, was a camp spoof of the ABC Afterschool Special genre.[70][71][72] 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.[73][74]

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 gay communities—in their stage performances, especially 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 the 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.[75]

Theatre

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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 girls and boys: 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." [76]

In the UK, the music hall tradition of the 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.[77]

Distinguishing between kitsch and camp

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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,[11][33] whereas kitsch is rooted in the rise of mass-produced art and popular culture for the mainstream.[78] 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".[22]

Sontag also distinguishes between naive and deliberate camp,[79] and examines Christopher Isherwood's distinction between low camp, which he associated with cross-dressing practices and drag performances, and high camp, which included "the whole emotional basis of the Ballet, for example, and of course of Baroque art".[80] 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).[81][82]

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.[83] 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".[84] Those who identify objects as "camp" commemorate the distance mirrored in the process through which "unexpected value can be located in some obscure or exorbitant object."[85]

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.[19] 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.[18]

See also

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References

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  74. ^ "COURTNEY FATHOM SELL: SO YOU WANNA BE AN UNDERGROUND FILMMAKER?". Filmmaker Magazine. Archived from the original on 27 June 2015. Retrieved 23 March 2015.
  75. ^ 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.
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  78. ^ 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.
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  83. ^ Ross, Andrew (1989). No Respect: Intellectuals and Popular Culture. New York: Routledge. p. 136.
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Sources

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  • 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

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  • 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.
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