Camp (style): Wikis


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Singer, actress and comedian Bette Midler, also known to her fans as The Divine Miss M is known for her campy stage shows, performances and many movie characters considered camp classics.

Camp is an aesthetic sensibility wherein something is appealing because of its bad taste and ironic value. The concept is closely related to kitsch, and campy things are described as being "campy" or "cheesy". When the usage appeared, in 1909, it denoted: ostentatious, exaggerated, affected, theatrical, and effeminate behaviour, and, by the middle of the 1970s, the definition comprised: banality, artifice, mediocrity, and ostentation so extreme as to have perversely sophisticated appeal.[1] American writer Susan Sontag's essay “Notes on 'Camp'” (1964) emphasised its key elements as: artifice, frivolity, naïve middle-class pretentiousness, and ‘shocking’ excess. Camp as an aesthetic has been popular from the 1960s to the present, and arguably peaked in the decades of the 1970s, 1980s, and to some extent the 1990s as well.

Camp films were popularised by filmmakers George and Mike Kuchar, Andy Warhol, and John Waters, including the latter's Pink Flamingos, Hairspray and Polyester. Celebrities that are associated with camp personas include drag queens and performers such as Dame Edna, Divine (Glen Milstead), RuPaul, and Liberace. Camp was a part of the anti-academic defense of popular culture in the 1960s and gained popularity in the 1980s with the widespread adoption of postmodern views on art and culture.


Origins and development

Camp derives from the French slang term se camper, meaning “to pose in an exaggerated fashion”. The OED gives 1909 as the first print citation of camp as "ostentatious, exaggerated, affected, theatrical; effeminate or homosexual; pertaining to, characteristic of, homosexuals. So as a noun, ‘camp’ behaviour, mannerisms, et cetera. (cf. quot. 1909); a man exhibiting such behaviour". Per the Oxford English Dictionary, this sense is "etymologically obscure".

Later, it evolved into a general description of the aesthetic choices and behavior of working-class homosexual men. Finally, it was made mainstream, and adjectivised, by Susan Sontag in her landmark essay (see below).

The rise of postmodernism made camp a common perspective on aesthetics, which was not identified with any specific group. The attitude originally was a distinctive factor in pre-Stonewall gay male communities, where it was the dominant cultural pattern. It originated from the acceptance of gayness as effeminacy. Two key components of camp were originally feminine performances: swish and drag. With swish featuring extensive use of superlatives, and drag being exaggerated female impersonation, camp became extended to all things "over the top", including female female impersonators, as in the exaggerated Hollywood version of Carmen Miranda. It was this version of the concept that was adopted by literary and art critics and became a part of the conceptual array of 1960s culture. Moe Meyer still defines camp as "queer parody."


You can't do camp on purpose.Susan Sontag
Two fairgoers at Folsom Street Fair, the world's largest leather subculture and kink festival. The man on the right wears an outfit constructed of Froot Loops cereal boxes and has a purse filled with the cereal. Gay and effeminate men are often called fruits.


Camp means to and 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 doesn't 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 allusion

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 allusion. A person being campy has a generalization they are intentionally making fun of or manipulating. Though camp is a joke it is also a very serious analysis done by people who are willing to make a joke out of themselves to prove a point.


Fudgie Frottage, San Francisco underground performance artist, produces the world's longest running drag king contest where exaggerated displays of masculinity are encouraged and rewarded.

As part of camp, drag occasionally consists of feminine apparel, ranging from slight make-up and a few feminine garments, typically hats, gloves, or high heels, to a total getup, complete with wigs, gowns, jewelry, and full make-up. In the case of drag kings or female male-impersonators, the opposite is true and often involves exaggerated displays of traditional male sexuality.

Contemporary culture


Television shows such as CHiPs, Batman, Gilligan's Island, and Fantasy Island, are enjoyed in the 2000s for what are now interpreted as their "campy" aspects. Some of these shows were developed tongue-in-cheek by their producers. TV soap operas, especially those that air in primetime, are often considered camp. The over-the-top excess of Dynasty and Dallas were popular in the 1980s. 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, 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 (ski ballet), the Harlem Globetrotters putting on a show in the gym of a maximum security prison, small-time professional wrestling, and roller derby. The ABC Afterschool Special episodes, which tackled topics such as drug use and teen sex, are an example of camp educational films. In turn, the Comedy Central television show Strangers with Candy, starring comedienne Amy Sedaris, was a camp spoof of the specials.

In a Monty Python sketch (Episode 22, "Camp Square-Bashing"), the British Army's 2nd Armoured Division has a Military "Swanning About" Precision Drill unit in which soldiers "camp it up" in unison. In the English sitcom The Office one of Tim Canterbury's pranks on Gareth Keenan includes a pun on meaning of the word camp.

The concept of the comicbook superhero (an individual in a highly stylised, outlandish and possibly impractical costume avenging otherwise serious matters such as murder) could be interpreted as camp. However since it was aimed initially at children, it is camp only in an abstract sense. It was not until the 1960s television version of Batman (one of the more famous examples of camp in pop culture) that the link was made explicit, with the inherent ridiculousness of the concept exposed as a vehicle for comedy. However this was also possibly done to get round the strict censorship of comics at this time (after Doctor Fredric Wertham's essay Seduction of the Innocent lead to the Comics Code), as the Batman cartoon strips were very dark and Noirish until the 1950s and from the 1970s onwards.

The Channel 4 Series Eurotrash was a television programme produced using the inherent ridiculousness of its subject matter for comedic effect, often using camp dubbing in regional accents and overexaggerated stereotypical characterisations (Such as an aristocratic artist based on Brian Sewell) to puncture the interviewees pretence of seriousness. However, an obituary to Lolo Ferrari was given straight dubbing as a mark of respect at odds with its irreverence. However, the subject matter would have offended many British viewers and fallen foul of OFCOM if it was done with any seriousness. Again, this is an example of doing a programme in a camp manner to avoid censorship.


Movie versions of camp TV shows have made the camp nature of these shows a running joke throughout the movies. John Huston's Beat the Devil (1953, starring Humphrey Bogart) was an exaggerated film noir send-up.. Filmmaker John Waters directed camp films, such as Pink Flamingos, Hairspray, Female Trouble, Polyester, Desperate Living, A Dirty Shame, and Cecil B. Demented. 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 eleven-year-old girl protagonist kisses a boy while Deborah Gibson's "Lost in Your Eyes" plays on a Fisher-Price tape recorder.

Films, such as Valley of the Dolls and Mommie Dearest gained camp status primarily due to the filmakers attempting to produce a serious film that was ultimately unintentionally comedic. Award-winning actresses, like Patty Duke in Dolls and Faye Dunaway in Dearest, gave such over-the-top performances that the films became camp classics, especially attracting fanfare from gay male audiences.

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). Many British Public Information Films gained a camp cult following, such as the famous Charley Says series. Interestingly, Charley's voice is performed by the camp surrealist comedian and Radio DJ Kenny Everett, who came from an advertising background.


Retro-camp fashion is an example of modern hipsters employing camp styles for the sake of humor. 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 white-tailed deer are also prevalent camp lawn decorations.

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. 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.


RuPaul regularly capitalizes on his camp appeal through TV and movie cameo appearances.

Many celebrities have camp personae, although some tend to possess these traits unintentionally. 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 personae include David Bowie, John Waters, Elvira, Pee-wee Herman, Elton John, Freddie Mercury, Richard Simmons, Dame Edna, Divine (Glen Milstead), RuPaul, Boy George, Liberace, Mika, Madonna, and Lady Gaga.

Video games characters with camp personae, effeminacy and gay icons include Him from Powerpuff Girls, Doctor N. Gin from the Crash Bandicoot series, Agent Pleakley from Lilo & Stitch movies, Meowth from the Pokémon cartoon series (indeed, Team Rocket can also count as camp as a whole), Reni Wassulmaier from Grand Theft Auto: Vice City Stories and Bridget from Guilty Gear series.

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."

International aspects

Pop singer Mika is renowned for his camp-styled performances

Thomas Hine identified 1954-1964 as the most camp modern period in the US. During this period, many Americans had much more money to spend, but often exercised poor taste due to their lack of sophistication, education or experience. In the UK, camp is an adjective, often associated with a stereotypical view of feminine gay men. Although it applies to gay men, it is a specific adjective used to describe a man that openly promotes the fact that he is gay by being outwardly garish or eccentric, for example the character Daffyd Thomas in the English comedy skit show Little Britain. "Camp" forms a strong element in UK culture, and many so-called gay-icons and objects are chosen as such because they are camp. People like Kylie Minogue, John Inman, Lawrence Llewelyn Bowen, Lulu, Graham Norton, Mika, Lesley Joseph, Ruby Wax, Dale Winton, Cilla Black, and the music hall tradition of the pantomime are camp elements in popular culture.

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, 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”.

Lately, in Europe, the Eurovision Song Contest, an annually televised competition of song performers from different countries, has shown an increased element of camp in their stage performances, at least during the final tv-show when it is broadcast directly throughout most European countries. A lot of the performers are strongly influenced by American camp style artists. As it is a visual show, many 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.


Carmen Miranda in the trailer for The Gang's All Here (1943)

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.” In American writer Susan Sontag's 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.

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.” 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.


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. The first positive portrayal of a gay secret agent in fiction appears in a series, The Man from C.A.M.P. in which the protagonist is paradoxically effeminate, yet physically tough. 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.

The Frankfurt School academic Theodor Adorno condemned pop culture as an instrument of capitalist oppression, with camp being part of the system. Camp, according to Frankfurt School theory, engenders unthinking consumerism.

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 recognised as valid art. In doing so, camp celebrates the trivial and superficial and form over content. This could be called the "yuck factor".

Camp-style performances may allow certain prejudices to be perpetuated by thinly veiling them as irony. Some feminist critics argue that drag queens are misogynistic because they make women seem ridiculous and perpetuate harmful stereotypes. This criticism posits that drag queens are the gay equivalent of the black and white minstrel. Some critics claim that camp comedians like Larry Grayson, Kenny Everett, Duncan Norvelle and Julian Clary perpetuate gay stereotypes and pander to homophobia.

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. Mainstream comic books and B Westerns, for example, have become standard subjects for academic analysis. The normalisation of the outrageous, common to many Vanguardist movements—has led some critics to argue the notion has lost its usefulness for critical art discourse.

Further reading

  • 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.
  • 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. ISBN 0-415-08248-X.
  • Sontag, Susan (1964). Notes on Camp in Against Interpretation and Other Essays. New York: Farrer Straus & Giroux. ISBN 0-312-28086-6.


  1. ^ 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


  • Levine, Martin P. (1998). Gay Macho. New York: New York University Press. ISBN 0-8147-4694-2.

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