Camp is an aesthetic 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 lowcamp (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]
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 (drag).[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 Molière's 1671 play Les Fourberies de Scapin.[14]
Writer Susan Sontag and linguist Paul Baker place the "soundest starting point" for the modern sense of camp, 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 crossdresserFrederick 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-liberationgay 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 camptalk, 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]
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
Fashion
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]
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
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]
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]
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]
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
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]
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
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
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 deliberatecamp,[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]
Glam rock is a style of rock music that developed in the United Kingdom in the early 1970s and was primarily defined by the flamboyant clothing, makeup, and hairstyles of its musicians, particularly platform shoes and glitter. Glam artists drew on diverse sources, ranging from bubblegum pop and 1950s rock and roll to cabaret, science fiction, and complex art rock. The flamboyant clothing and visual styles of performers were often camp or androgynous, and have been described as playing with other gender roles. Glitter rock was a more extreme version of glam rock.
A drag queen is a person, usually male, who uses drag clothing and makeup to imitate and often exaggerate female gender signifiers and gender roles for entertainment purposes. Historically, drag queens have usually been gay men, and have been a part of gay culture.
In the arts and literature, the term avant-garde identifies an experimental genre or work of art, and the artist who created it, which usually is aesthetically innovative, whilst initially being ideologically unacceptable to the artistic establishment of the time. The military metaphor of an advance guard identifies the artists and writers whose innovations in style, form, and subject-matter challenge the artistic and aesthetic validity of the established forms of art and the literary traditions of their time; thus, the artists who created the anti-novel and Surrealism were ahead of their times.
Against Interpretation is a 1966 collection of essays by Susan Sontag. It includes some of Sontag's best-known works, including "Notes on 'Camp'", "On Style" and the eponymous essay "Against Interpretation." In the latter, Sontag argues that the new approach to criticism and aesthetics neglects the sensuous impact and novelty of art, instead fitting works into predetermined intellectual interpretations and emphasis on the "content" or "meaning" of a work. The book was a finalist for the Arts and Letters category of the National Book Award.
Vaginal Davis is an American performing artist, painter, independent curator, composer, filmmaker and writer. Born intersex and raised in South Central, Los Angeles, Davis gained notoriety in New York during the 1980s, where she inspired the Bushwick neighborhood of Brooklyn's prevalent drag scene as a genderqueer artist. She currently resides in Berlin, Germany.
Gay men are male homosexuals. Some bisexual and homoromantic men may dually identify as gay and a number of gay men also identify as queer. Historic terminology for gay men has included inverts and uranians.
"Notes on 'Camp'" is a 1964 essay by Susan Sontag that brought the aesthetic sensibility known as "camp" to mainstream consciousness.
A gender bender is a person who dresses up and presents themselves in a way that defies societal expectations of their gender, especially as the opposite sex. Bending expected gender roles may also be called a genderfuck.
Jack Halberstam, also known as Judith Halberstam, is an American academic and author, best known for his book Female Masculinity (1998). His work focuses largely on feminism and queer and transgender identities in popular culture. Since 2017, Halberstam has been a professor in the department of English and Comparative Literature and the Institute for Research on Women, Gender, and Sexuality at Columbia University. Previously, he worked as both director and professor at The Center for Feminist Research at University of Southern California (USC). Halberstam was the associate professor in the Department of Literature at the University of California at San Diego before working at USC.
American singer and actress Madonna is recognized as a gay icon. She was introduced, while still a teenager, by her dance instructor, Christopher Flynn, an openly gay man who mentored her. Since then, Madonna has always acknowledged the importance of the community for her life and career, declaring that she "wouldn't have a career if it weren't for the gay community".
A gay icon is a public figure who is regarded as a cultural icon by members of the LGBT community. Such figures usually have a devoted LGBT fanbase and act as allies to the LGBT community, often through their work, or they have been "openly appreciative of their gay fanbase". Many gay icons also have a camp aesthetic style, which is part of their appeal to LGBT individuals.
Thomas Lanigan-Schmidt is an American artist who took part in the 1969 Stonewall uprising in New York City, which was a historic turning point in the movement for Gay liberation and LGBT rights. He is on the faculty of New York City's School of Visual Arts.
Lesbian, gay, bisexual, transgender, and queer+(LGBTQ+)music is music that focuses on the experiences of gender and sexual minorities as a product of the broad gay liberation movement.
Camp: Notes on Fashion was the 2019 high fashion art exhibition of the Anna Wintour Costume Center, a wing of the Metropolitan Museum of Art in New York that houses the collection of the Costume Institute.
GagaOOLala is a Taiwan-based worldwide subscription video on demand service, specializing in uncensored LGBT-related films, LGBT made-for television films and contemporary LGBT television drama series. It has partnered with Japanese-based Line TV, initially in Thailand, and then across Asia, to provide the service with GagaOOLala-made TV series. GagaOOLala is owned by Portico Media, whose also carried pay TV channels for Taiwan cable TV provider along with Chunghwa Telecom's MOD platform.
Jack Babuscio (1937–1990) was an American journalist and activist who primarily lived in England.
Diego Montoya is an American visual artist and fashion designer. He works with recycled materials, creating “larger-than-life”, “innovative”, and “subversive” installations and costumes for galleries, stores, and queer performers.
Tosh Basco, known by her performance name boychild, is an American performance artist, dancer, and photographer. boychild identifies as nonbinary trans, but considers her persona of boychild to be female and uses she/her pronouns when performing. By inhabiting female pronouns whilst performing while sustaining a nonbinary identity, boychild is "non-conformist to hegemonic ideas of sex and gender, boychild is positioned as subordinated to other in more ways than one and the viability of her sex, gender, and humanness is called into question." boychild's performances relay how bodies have been thrown into arbitrary categoricalness that reiforces cisheteronortmative benefit from these classifications."She uses her body as a vehicle for performing. The "body has become a form of political subject and considered a heart of power" The body is the physical embodiment of "the self", which "can be used as a tool to reveal the ubiquitous wholeness of being—dissolving difference." Her choreography, she told Interview Magazine, is like "the physical body turning into a cyborg ... It’s like a glitch; there’s a repetitive thing that happens." Performances of boychild's often consist of lip-syncs to heavily distorted pop songs. Her signature style includes a shaved head, full-body makeup, tinted contact lenses, and neon lighting. She lives and works predominately in California and Hong Kong.
References
↑ "Definition of CAMP". www.merriam-webster.com. 1 August 2024. Retrieved 9 August 2024.
1 2 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. ISBN978-1-4742-4734-4.
↑ Rodgers, Bruce (1979). Gay Talk: a (sometimes outrageous) dictionary of gay slang. A Paragon book (Reprinted.). New York: Paragon books. ISBN978-0-399-50392-4.
↑ "camp". Oxford English Dictionary, Second Edition. Oxford: Oxford University Press, 1989.
↑ Harper, Douglas. "camp (adj.)". Online Etymology Dictionary. Archived from the original on 14 September 2016. Retrieved 21 August 2016.
↑ 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 personage 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.)
↑ "Camp". www.worldwidewords.org. Retrieved 10 August 2024.
↑ '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'
↑ 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
1 2 Cohan, Steven. Incongruous entertainment: Camp, cultural value, and the MGM musical. Duke University Press, 2005. p.11, 274.
1 2 Core, Philip (1984). Camp: the lie that tells the truth. New York: Delilah Books. p.5. ISBN978-0-933328-83-9.
1 2 3 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.
1 2 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. ISBN978-1-4985-3777-3.
↑ 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.
1 2 Laurense Cole (2008) Dusty Springfield: in the middle of nowhere, Middlesex University Press. p. 13.
↑ Charles Taylor (1997). Mission Impossible: The perfectionist rock and soul of Dusty Springfield, Boston Phoenix.
1 2 "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.
1 2 Bob Gulla (2007) Icons of R&B and Soul: An Encyclopedia of the Artists Who Revolutionized Rhythm, Greenwood Publishing Group ISBN978-0-313-34044-4
↑ 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 ISBN978-0-415-92169-5
↑ 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, ISBN9004123393, 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.
↑ Knapp, Raymond (2018). Making light: Haydn, musical camp, and the long shadow of German idealism. Durham London: Duke University Press. pp.164–165. ISBN978-0-8223-7240-0.
↑ 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. S2CID146449408.
↑ 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. ISBN978-0-9805440-9-1.
Babuscio, Jack (1993) "Camp and the Gay Sensibility" in Camp Grounds: Style and Homosexuality, David Bergman Ed., U of Massachusetts, Amherst ISBN978-0-87023-878-9
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 ISBN978-0-313-32715-5
Levine, Martin P. (1998) Gay Macho, New York UP, New York ISBN0-8147-4694-2
Meyer, Moe, Ed. (1994) The Politics and Poetics of Camp, Routledge, London and New York ISBN978-0-415-08248-8
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 ISBN978-0-8173-5652-1
Van Leer, David (1995) The Queening of America: Gay Culture in Straight Society, Routledge, London and New York ISBN978-0-415-90336-3
Further reading
Baker, Paul (2023). Camp! The Story of the Attitude that Conquered the World. London: Footnote Press. ISBN978-1804440339
Core, Philip (1984/1994). CAMP, The Lie That Tells the Truth, foreword by George Melly. London: Plexus Publishing Limited. ISBN0-85965-044-8
Cleto, Fabio, editor (1999). Camp: Queer Aesthetics and the Performing Subject. Ann Arbor: University of Michigan Press. ISBN0-472-06722-2.
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. ISBN0-415-08248-X.
Sontag, Susan (1964). "Notes on Camp" in Against Interpretation and Other Essays. New York: Farrar, Straus & Giroux. ISBN0-312-28086-6.
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