Susan Sontag: Defining ÒCampÓ Sensibility
Camp
defined by the Wikipedia:
ÒThe term camp—normally used as an
adjective, even though earliest recorded uses employed it mainly as a verb—refers
to the deliberate and sophisticated use of kitsch, mawkish or corny themes and
styles in art, clothing or conversation. A part of the anti-Academic defense of
popular culture in the sixties, camp came to academic prominence in the
eighties with the widespread adoption of the Postmodern views on art and
culture.
Much like the closely related notion of kitsch,
camp has traditionally been viewed as hard to define. Susan Sontag, in her
famous 1964 essay "Notes on 'Camp' ", emphasises artifice, frivolity,
and shocking excess as the key notes. While the common use of the concept
includes these, usually the element of na•ve middle-class pretentiousness is
highlighted. Typical examples of this latter use are Carmen Miranda's tutti
frutti hats, low-budget science fiction movies of the 1950s and 1960s and the
multi-genre pop culture of the 1970s and 1980s. It has been argued that this
view oversimplifies the camp phenomenon in an undesirable way, as it tends to
equate the camp with popular culture, viewed with condescending irony, while
the original concept included works definitely outside the realm of popular
culture (Sontag herself mentions Richard Strauss's Der Rosenkavalier, which may
be considered a minor work by musicologists but is hardly in the same range
with soap operas or superhero comics).
The
first 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."
SontagÕs
ÒNotes on ÔCampÕÓ essay was a series of theses, some of which include:
10. Camp sees everything in quotation marks. It's not a
lamp, but a "lamp"; not a woman, but a "woman." To perceive
Camp in objects and persons is to understand Being-as-Playing-a-Role. It is the
farthest extension, in sensibility, of the metaphor of life as theater.
18. One must distinguish between na•ve and deliberate Camp.
Pure Camp is always naive. Camp which knows itself to be Camp
("camping") is usually less satisfying.
41. The whole point of Camp is to dethrone the serious. Camp
is playful, anti-serious. More precisely, Camp involves a new, more complex
relation to "the serious." One can be serious about the frivolous,
frivolous about the serious.
44. Camp proposes a comic vision of the world. But not a
bitter or polemical comedy. If tragedy is an experience of hyperinvolvement,
comedy is an experience of underinvolvement, of detachment.
58. The
ultimate Camp statement: it's good because it's awful . . .