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What is “camp,” anyhow? Let Susan Sontag explain
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Lady Gaga , a contemporary exemplar of camp, uses musical expression and the body motions of 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. The words "camp" and " kitsch " are often used interchangeably; both may relate to art, literature, music, or any object that carries an aesthetic value.

However, "kitsch" refers specifically to the work itself, whereas "camp" is a mode of performance. Thus, a person may consume kitsch intentionally or unintentionally.

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Camp, as Susan Sontag observed, is always a way of consuming or performing culture "in quotation marks". Sontag also distinguishes between "naive" and "deliberate" camp, [33] and examines Christopher Isherwood's distinction between low camp, which he associated with cross-dressing practices and drag performances, and high camp, which he considered as part of a cultural heritage that included "the whole emotional basis of the Ballet, for example, and of course of Baroque art".

Thomas Hine identified — as the campiest period in modern US history. The term has been in common use for many decades.

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Gay comedian Kenneth Williams wrote in a diary entry for 1 January "Went to Singapore with Stan—very camp evening, was followed, but tatty types so didn't bother to make overtures. The Taliban [37] [38] book shows a campy esthetics, quite close to the gay movement in California or a Peter Greenaway film. 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. Since , the Eurovision Song Contest , an annually televised competition of song performers from different countries, has shown an increased 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. The first post-World War II use of the word in print, marginally mentioned in the Sontag essay, may be Christopher Isherwood 's 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. 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 s. In Mark Booth's book Camp he defines camp as "to present oneself as being committed to the marginal with a commitment greater than the marginal merits".

He carefully discerns the 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. He considers Sontag's definition problematical because it lacks this distinction. According to the sociologist Andrew Ross , camp engages in a redefinition of cultural meaning through a juxtaposition of an outmoded past alongside that which is technologically, stylistically, and sartorially contemporary.

Often characterized by the reappropriation of a "throwaway Pop aesthetic", camp works to intermingle the categories of "high" and "low" culture. 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".

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In Ross's analysis, camp aesthetics became the site of personal liberation from the stranglehold of the corporate, capitalist state. Camp liberates objects from the landfills of history and reinvokes them with a new charisma.

In doing so camp creates an economy separate from that of the state. In Ross's words, camp "is the re-creation of surplus value from forgotten forms of labor".

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Ross suggests that camp often faces criticism from other political and aesthetic perspectives. For example, the most obvious argument is that camp is just an excuse for poor quality work and allows the tacky and vulgar to be recognized as valid art. In doing so, camp celebrates the trivial and superficial and form over content.

The power of the camp object may be found in its ability to induce this reaction. In a sense objects that fill their beholders with disgust fulfill Sontag's definition of the ultimate camp statement, "it's good because it's awful.


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In an attempt to "present a challenge to the mechanisms of control and containment that operate in the name of good taste", the camp aesthetic has been appropriated by artists. From Wikipedia, the free encyclopedia. For other uses, see Campy disambiguation.

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Ostentatious style. Roderick McGillis ed. Canadian Review of American Studies. Retrieved 10 October The Joker. Cambridge Scholars Publishing. Whatever I do seems to get me into hot water somewhere; Online Etymology Dictionary. Surtout pron. Se camper solidement dans son fauteuil.

Il se campa devant son adversaire. En parlant d'un acteur, d'un artiste: Figurer avec force et relief. Theatre: To perform with forcefulness and exaggeration ; to overact.