Wikipedysta:Wilhelm.szymański/Brudnopis

Camp (także Kamp) to estetyka, stylizacja, w której rzecz podoba się dlatego, że jest w złym guście, lub z powodu swojej wartości ironicznej. Współcześnie używa się tego terminu także wobec osób i rzeczy, które są w przejaskrawiony sposób homoseksualne, lub w różnym stopniu zniewieściałe, a oprócz tego mogą lecz nie muszą być kiczowate.

Stylistyka campowa stała się popularna w latach '60 równolegle z upowszechniającymi się postmodernistycznymi poglądami na kulturę, jako część nurtu anty-akademickiej obrony kultury popularnej.

Definicja: początki i rozwój pojęcia

“Camp” pochodzi od francuskiego slangowego terminu camper, który oznacza "pozować (na kogoś, zachowywać się) w przesadzony sposób". Być może wywodzi się z łacińskiego "campus", oznaczającego "pole, gospodarstwo, wieś", sugerując tym samym związek ze stereotypowym zachowaniem przypisywanym ludom wiejskim, zatem "prowincjonalnym".

Oksfordzki Słownik Języka Angielskkiego (OED) po raz pierwszy odnotowuje to słowo w roku 1909, przypisując mu następujące znaczenia: jako przymiotnik:

• ostentacyjne, przerysowane, afektowane, teatralne, zniewieściałe lub homoseksualne
• naśladujące lub charakterystyczne dla homoseksualistów

jako rzeczownik:

• mężczyzna zachowujący się w ten sposób

Według OED, etymologia tego znaczenia słowa camp jest nieznana. W związku z ujednolicaniem się kultury popularnej na świecie, słowo to zawitało także do Polski. Początkowo używane, głównie przez osoby zajmujące się teorią kultury, kulturą gejowską i queer studies, obecnie, także za pośrednictwem anglojęzycznych programów rozrywkowych, trafia do codziennego użycia.

Choć powstanie postmodernizmu czynił z kampu znany punkt widzenia w estetyce, nie identyfikowany z żadną specyficzną grupą Though the rise of Postmodernism has made camp a common take on aesthetics, not identified with any specific group (w przeciwieństwie do słowa "queer"), the attitude was originally a distinctive factor in pre-Stonewall gay male communities, where it was the dominant cultural pattern (Altman 1982, 154-155). Altman (ibid) argues that it originated from the acceptance of gayness as effeminacy. Two key components of camp were originally feminine performances: swish and drag (Newton 1972, 34-37; West 1977; Cory 1951). With swish featuring extensive use of superlatives, and drag being (often outrageous) female impersonation, camp became extended to all things "over the top", including female female impersonators, as in the exaggerated Hollywood version of Carmen Miranda (Levine, 1998). It was this version of the concept that was adopted by literary and art critics and became a part of the conceptual array of 'sixties culture. Moe Meyer (1994, p. 1) still defines camp as "queer parody."

Aspekty campu

Drag (ubrania)

As part of camp, drag meant (Newton, 1972, 34-36; Read 1980) "womanly apparel, ranging from slight makeup and a few feminine garments, typically hats, gloves, or high heels, to a total getup, complete with wigs, gowns, jewelry, and full makeup" (Levine, 1998, p. 22). Also camp were feminine interests such as fashion (Henry, 1955; West, 1977), decoration (Fischer, 1972, 69; White, 1980; Henry, 1955, 304) "with fancy frills, froufrou, bric-a-brac and au courant kitsch," opera and theater (Karlen 1971; Hooker 1956; Altman 1982, 154), bitchy humor (Read 1980, 105-8), old movies (Dyer 1977), and celebrity worship (Tipmore 1975). (Levine 1998, p. 23-4)

Dishing

Another part of camp was dishing, a conversational style including, "bitchy retorts, vicious putdowns, and malicious gossip," (Levine 1998, p.72) associated with the entertainment industry (Leznoff and Westley 1956; Hooker 1956; Hoffman 1968; Read 1980) and also called "fag talk" or "chit chat" (Read 1980, p.106-8). Clones adapted dish, often keeping the feminine pronouns, expanding it to dirt, gossip and rumors, bitchiness and viciousness. (Levine 1998, p.72)

Attitude

Camp has been from the start an ironic attitude, embraced by anti-Academic theorists for its explicit defense of clearly marginalized forms. As such, its claims to legitimacy are dependent on its opposition to the status quo; camp has no aspiration to timelessness, but rather lives on the hypocrisy of the dominant culture. It does not present basic values, but precisely confronts culture with what it perceives as its inconsistencies, to show how any norm is socially constructed. This rebellious utilisation of critical concepts was originally formulated by modernist art theorists such as sociologist Theodor Adorno, who were radically opposed to the kind of popular culture that consumerism endorsed.

Humor and Illusion

Camp is a critical analysis and at the same time a big joke. Camp takes “something” (normally a social norm, object, phrase, or style) does a very acute analysis of what the “something” is then takes the “something” and presents it humorously. As a performance, camp is meant to be an illusion. A person being campy has a generalization they are intentionally making fun of or manipulating. Though camp is a joke it's also a very serious analysis done by people who are willing to make a joke out of themselves to prove a point. It's about being pretentious and contentious; It is a heterodox bouleversement all wrapped up in a tongue and cheek pose, which elicits shock and is meant to be offensive.

Przyklady

Telewizja

Television shows such as Hee Haw, Batman, Gilligan's Island, Mighty Morphin Power Rangers, The Love Boat, Fantasy Island, Saved by the Bell, The Monkees, Rowan & Martin's Laugh-In, Wonder Woman, Super Friends, Space Ghost and The Greatest American Hero are often cited as examples of camp when viewed in the context of today's society. When many of these shows were made, they were intended as serious attempts at TV production; others were developed tongue-in-cheek by their producers.

TV soap operas, especially those that air in primetime, are also considered camp. The excess of Dynasty and Dallas in the 1980s spawned the camp Desperate Housewives in the 2000s. Mentos television commercials during the 1990s developed a cult following due to their camp Eurotrash humour.

The ESPN Classic show Cheap Seats features two Generation-X, hipster, real-life brothers making humorous observations while watching televised camp sporting events, which had often been featured on ABC's Wide World of Sports during the 1970s. Examples include a 1970s "sport" that attempted to combine ballet with skiing, the Harlem Globetrotters putting on a show in the gym of a maximum security prison, small-time professional wrestling, and roller derby.

In the 1990s, a similar television show titled Mystery Science Theater 3000 (MST3K) featured a young man trapped aboard a 1950s science fiction style spacecraft accompanied by two robots made from common household artifacts, all of whom sat in front of a giant movie screen and made running sarcastic comments about low-budget educational, science fiction, and horror films they watched.

The Comedy Central television show Strangers with Candy, starring comedienne Amy Sedaris, was a camp spoof of such after school specials.

In a Monty Python sketch (Episode 22, "Camp Square-Bashing"), the British Army's 2nd Armored Division apparently has a Military "Swanning About" Precision Drill unit in which soldiers "camp it up" in unison. In Episode 30, "Mary Recruiting Office", a man who is applying to join the Army intending to study interior design is told that the services, apart from the Royal Marine Commandos, are rather "dead butch" but that the Durham Light Infantry are doing wonderful things with "savage tans, [and] great slabs of black set against aggressive orange.".

Film

Movie versions of camp TV shows have made the camp nature of these shows a running joke throughout the movies.

Some critics denote John Huston's Beat the Devil (1953, starring Humphrey Bogart) as the first camp film (an over-the-top send-up of the film noir genre). The film was indeed ahead of its time, the audiences of its day not able to recognize the director's intent, and achieved recognition only via cult status enjoyed many years thereafter.

Filmmaker John Waters has made a lucrative career directing camp films, such as Pink Flamingos, Hairspray, Female Trouble, Polyester, Desperate Living, A Dirty Shame, and Cecil B. Demented. In the eighth season of The Simpsons he appeared in the episode Homer's Phobia as the owner of a memorabilia store and described camp to Homer as the "tragically ludicrous" or the "ludicrously tragic" -- such as "inflatable furniture or Last Supper TV trays."

Filmmaker Todd Solondz uses camp music to illustrate the absurdity and banality of bourgeois, suburban existence. In Solondz's cult film Welcome to the Dollhouse, the 11-year-old female protagonist kisses a boy while Debbie Gibson's "Lost in Your Eyes" is played on a Fisher-Price tape recorder.

The 2001 film Glitter by singer Mariah Carey was considered camp by some film critics. Its lightheartedness and poor quality helped Americans, according to some and even hinted at by Carey herself, to deal with the serious tragedy of the 9/11 terrorist attack that happened less than a week before the film's release.

Educational and industrial films form an entire sub-genre of camp films, with the most famous being the much spoofed 1950s Duck and Cover film, in which an anthropomorphic, cartoon turtle explains how one can survive a nuclear attack by hiding under a school desk (its British counterpart Protect and Survive could be seen as kitsch, even though it is very chilling to watch). ABC After School Specials, which tackled topics such as drug use and teen sex, are another example of camp educational films. The Comedy Central show Strangers with Candy, was a parody of ABC After School Specials.

Moda

Retro-camp fashion is an example of modern hipsters' employing camp styles for the sake of humor.

Wnętrza

Yard decorations, popular in some parts of suburban and rural America, are examples of kitsch and are sometimes displayed as camp expressions. The classic camp yard ornament is the pink plastic flamingo. The yard globe, garden gnome, wooden cut-out of a fat lady bending over, the statue of a small black man holding a lantern (called a lawn jockey) and ceramic statues of whitetail deer are also prevalent camp lawn decorations.

Muzyka

Examples of camp music include Cyndi Lauper, Claude Francois, The Village People, Nancy Sinatra, Menudo, Geri Halliwell, Peggy March, Michael Bolton, Bette Midler, Wayne Newton, Drafi Deutscher, Alice Cooper, Debbie Gibson, Tiffany, Twisted Sister, Barbra Streisand, Yma Sumac, Air Supply, Barry Manilow, Poison, New Edition, Stryper, Metallica, Boxcar Willie and Cher. Meco and his Star Wars disco albums would also fall into the category. Entire genres of music, such as show tunes, disco, polka and German Schlager music are considered camp. Camp musical acts include The B-52's, Queen, Arling and Cameron, and Pinkard and Bowden.In the 70's David Bowie and other Glam artists often called themselves "Queens of Camp", the term queen being a play on their feigned homoeroticism. Terms like "camp as a row of tents" were often used to describe them, a thing which the always took as a compliment.

Handel

The Carvel chain of soft-serve ice cream stores is famous for its camp style, campy low-budget TV commercials and campy ice-cream cakes such as Cookie Puss and Fudgie The Whale.

Przydrożne atrakcje

South of the Border is a roadside attraction on the North Carolina-South Carolina border with a camp faux-Mexican theme and is also known for its campy billboards stretching along Interstate 95 from Washington, D.C., to Florida. Branson, Missouri, is a popular tourist destination that features camp entertainment with pseudo-patriotic or otherwise jingoistic themes, overtones and messages. The gambling meccas of Las Vegas and Reno, Nevada, are famous for the camp architecture of the casinos and hotels. In recent years, Wisconsin Dells has developed a camp reputation for its waterparks, waterpark resorts and motel swimming pools featuring foam-and-fibreglass sculptures of dolphins and killer whales.

Znani ludzie

Many celebrities have camp personas. Some celebrities even capitalize on their camp appeal through commercials and in TV and movie cameo appearances (for example, TV commercials for Old Navy clothing stores).

Celebrities with camp personas include John Waters, Pee-wee Herman, William Shatner, Elton John, Mr. T., Gary Coleman, Eminem, Fabio, Richard Simmons, Dame Edna, Divine (Glen Milstead), RuPaul, Man Parrish, Tiny Tim, Wayne Newton, Boy George, Liberace, David Lee Roth, Dennis Rodman, Bette Midler, Klaus Nomi, Graham Norton, and Brian Molko.

Celebrities with camp personas who are also gay icons include Liza Minnelli, Elizabeth Taylor, Brigitte Bardot, Danni Minogue, Bette Midler, Cher, Cyndi Lauper, Joan Collins, and Joan Rivers.

Unintentional camp

Szablon:Disputeabout Camp originally referred to the deliberate and sophisticated use of kitsch, mawkish or corny themes and styles in art, clothing or conversation. Today, camp has a somewhat different meaning, as the term has grown to also include unintentional camp. Camp may be naive (i.e. unaware of itself as camp) or deliberate; however, it is always to some degree intentional insofar as it is a performative style. Deliberate camp often contains an element of parody or humor. Naive camp is unselfconscious and is sometimes called "true camp."

One example of unintentional camp is the band Dragonforce.

Camp vs. Kicz

Much like the closely related notion of kitsch, camp has traditionally been viewed as hard to define. The terms "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 object proper, whereas "camp" is a mode of performance. Thus, a person may consume kitsch intentionally or unintentionally. Camp, however, as Susan Sontag observed, is always a way of consuming or performing culture "in quotation marks."

Camp na świecie

Camp appears to be most prevalent in societies where disposable income has grown at a much faster pace than the general level of cultural sophistication, awareness and education. The popular culture of the USA during the late 1950s and early '60s (Author Thomas Hine identified it as the period 1954-64) is considered by some to be the most camp modern period. During this era, the overall average standard of living and the amount of disposable income of the American people rose rapidly and significantly as the post-World War II economy (which was rapidly taking up a great deal of slack from the Depression and World War II) boomed. Yet, at the same time, many people in that era were somewhat naïve and provincial, with relatively few people having attended college. Aside from WWII veterans (who constituted about 10% of the US population during the 1950s), few people had been exposed to other cultures or traveled overseas. In sum, many people suddenly had much more money to spend, but often exercised poor taste due to their lack of sophistication, education or experience.

Wielka Brytania

In the UK, camp is an adjective to describe a naughty seaside-postcard sense of humour combined with sharp wit, and is often associated with a stereotypical view of feminine gay men. "Camp" forms a strong element in UK culture, and many so-called gay-icons and objects are chosen as such because they are camp. In the UK, the television series Absolutely Fabulous, as well as personages like John Inman, Lawrence Llewelyn Bowen, Lulu, Graham Norton, Lesley Joseph, Dale Winton, Cilla Black, and the music hall theatre tradition of the pantomime are considered to be camp elements in popular culture (by the general populace).

Australia

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 (Kosky’s production of King Lear featured a pregnant Cordelia and Knights wearing strap on penises), Wagner, Moliere, Seneca, Kafka and most recently – 9 September 2006 - his 8 hour production for the Sydney Theatre Company “The Lost Echo” based on Ovid's Metamorphoses and Euripides' The Bacchae. In the first act (The Song of Phaeton) for instance, the goddess Juno takes the form of a highly stylised Marlene Dietrich and the musical arrangements feature Noel Coward and Cole Porter. Kosky’s use of camp is also effectively employed to satirise 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 whereabouts 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”.

Japonia

As the Japanese economy began to boom in the 1970s and 1980s, Japan became a major producer of camp (see Tokusatsu for examples). As in the United States of the 1950s, Japanese disposable income had outpaced the general level of sophistication within Japanese society.

Indie

India is a major producer of camp, best exemplified by Bollywood musicals.These are the most popular mode of entertainment.

Camp w literaturze

Susan Sontag

One of the first people to give the concept of camp an academic treatment was the American activist Susan Sontag. In her famous 1964 essay "Notes on 'Camp'", Sontag emphasised artifice, frivolity, naïve middle-class pretentiousness and shocking excess as key elements of camp. Examples cited by Sontag included singer/actress Carmen Miranda's tutti frutti hats and low-budget science fiction movies of the 1950s and 1960s.

Christopher Isherwood

The first post-World War II use of the word in print, marginally mentioned in the Sontag essay, 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.”

Mark Booth

In his 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 discerns carefully between genuine camp and camp fads and fancies, things that are not intrinsically camp, but display artificiality, stylisation, theatricality, naivety, sexual ambiguity, tackiness, poor taste, stylishness, or portray camp people and thus appeal to them. He considers Susan Sontag's definition problematical because it lacks this distinction.

Camp jako wyzwanie kulturowe

As a cultural challenge, camp can also receive a political meaning, when minorities appropriate and ridicule the images of the dominant group, the kind of activism associated with multiculturalism and the New Left. The best known instance of this is the gay liberation movement, which used camp to confront society with its own preconceptions and their historicity. Female camp actresses such as Mae West, Marlene Dietrich, and Joan Crawford also had an important influence on the development of feminist consciousness: by exaggerating certain stereotyped features of femininity, such as fragility, open emotionality or moodiness, they attempted to undermine the credibility of those preconceptions. The multiculturalist stance in cultural studies therefore presents camp as political and critical.

Conversely, political theorists like Theodor Adorno saw camp as a means of maintaining the status quo by misdirecting the workers away from the cause of their opression: the capitalist system. Also, camp's ehpemerality was deemed to engender unthinking consumerism, which relies on novelty and frivolity.

Uznanie campu w sferach akademickich

While the success of postmodernism granted camp a place in mainstream art and literature analysis, as well as a certain weight in contemporary social theory, it also meant that its extended sphere of cultural influence was likely to affect the use of the concept. As a part of its adoption by the mainstream, camp has undergone a softening of its original subversive tone, and is often little more than the condescending recognition that popular culture can also be enjoyed by a sophisticated sensibility. Comic books and Westerns, for example, have become standard subjects for serious academic analysis. This is not, however, the kind of seriousness that Sontag advocated for camp, to which deliberate exaggeration and outlandishness was essential. This uncomfortable situation—the normalisation of the outrageous, common to many Vanguardist movements—has led some to believe that the notion has lost its usefulness for critical art discourse.

Zobacz także

• Drag queen
• en:Mystery Science Theater 3000
• en:Godzilla
• en:Popular culture studies
• en:John Waters (filmmaker)
• en:Johnny Sokko And His Flying Robot
• en:Batman (TV series)i Adam West
• en:Ed Wood, Jr.
• Barbarella
• en:Lucia Pamela
• en:Power Rangers
• en:Ultraman
• en:Old Timeyness

Bibliografia i żródła

W tekście

• Levine, Martin P. (1998). Gay Macho. New York: New York University Press. ISBN 0-8147-4694-2.
• 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.
• Meyer, Moe, editor (1993). The Politics and Poetics of Camp. Routledge. ISBN 0-415-08248-X.

Linki zewnętrzne

• Notes on Camp napisane przez Susan Sontag
• Why I hate 'Queer Eye for the Straight Guy': And how camp became outdated by Johann Hari