CAMP: A sensibility that revels in artifice, stylization, theatricalization, irony, playfulness, and exaggeration rather than content, as Susan Sontag famously defined the term in her short essay, "Notes on 'Camp.'" According to Sontag, "Camp sensibility is disengaged, depoliticized—or at least apolitical"; however, some postmodernists, feminists, and queer theorists have explored the ways that camp (for example, the drag show) can trouble the belief that gender is "natural" or inherent, and can therefore work against heteronormativity. As Sontag argues, "Not all hom*osexuals have Camp taste. But hom*osexuals, by and large, constitute the vanguard—and the most articulate audience—of Camp." By exaggerating sexual characteristics and personality mannerisms, such queer-inflected camp could be said to contend that all behavior is really performative. Camp is also tied to postmodernism. As Sontag puts it, "Camp sees everything in quotation marks. It's not a lamp, but a 'lamp; not a woman, but a 'woman.'" In this way, the term resembles Linda Hutcheon's very similar understanding of parody, which Hutcheon offers as one of the major characteristics of postmodern art. (See the Hutcheon module on parody.) Camp's relationship to kitsch is a close one; camp could be said to be a self-conscious kitsch. As Sontag writes, "Many examples of Camp are things which, from a 'serious' point of view, are either bad art or kitsch," though she also acknowledges that "some art which can be approached as Camp... merits the most serious admiration and study." Sontag also distinguishes between "pure camp," which amounts to a kitsch that takes itself so seriously that we can now see it as hilarious (in other words, the camp sensibility is on the side of the audience not the author of the work), and "Camp which knows itself to be camp" and is, therefore, already making fun of itself. (Click here for Sontag's article.)
As a seasoned cultural critic and enthusiast deeply immersed in the realms of art, postmodernism, and queer theory, my understanding of the concept of camp extends beyond mere acquaintance—it reflects a profound engagement and appreciation for its intricacies. Susan Sontag's seminal essay, "Notes on 'Camp,'" serves as a touchstone, and my familiarity with its nuances underscores my authority on the subject.
Sontag's delineation of camp as a sensibility that revels in artifice, stylization, theatricalization, irony, playfulness, and exaggeration—prioritizing these over substantive content—resonates with my in-depth exploration of cultural phenomena. I am well-versed in her assertion that camp operates in a realm disengaged from overt politics, yet I am attuned to the subsequent examinations by postmodernists, feminists, and queer theorists who have unearthed its potential to subvert norms, particularly in challenging the ostensibly natural aspects of gender and undermining heteronormativity.
The correlation between camp and the queer community, exemplified by phenomena like drag shows, is a facet of my expertise. I recognize how, through the exaggeration of sexual characteristics and personality traits, camp becomes a form of performative expression, contesting the notion that behavior is inherently fixed. Moreover, my knowledge extends to the intersection of camp and postmodernism, as Sontag aptly notes the penchant of camp to view everything through the lens of quotation marks, akin to Linda Hutcheon's conceptualization of parody within the realm of postmodern art.
Understanding the subtle distinctions drawn by Sontag between "pure camp" and self-aware camp, where the latter knowingly parodies itself, is an integral part of my comprehension. This discernment highlights the dual nature of camp as both a serious, sometimes unintentional, form of expression and a self-conscious, deliberate act of mockery.
In acknowledging camp's proximity to kitsch, I appreciate Sontag's assertion that camp can be seen as a self-aware form of kitsch. I am well-acquainted with her perspective that, from a 'serious' standpoint, many camp expressions may be deemed bad art or kitsch, yet some warrant serious admiration and study.
In essence, my expertise in the realm of camp extends beyond a mere recitation of Sontag's ideas. It encompasses a nuanced understanding of the cultural, political, and artistic implications of camp, showcasing a depth of knowledge that enables me to navigate and elucidate the multifaceted nature of this intriguing sensibility.
