Notes on 'Camp' by Susan Sontag

INTRODUCTION TO CAMP

  • Definition & Nature of Camp

    • Camp is described as a certain mode of aestheticism, a sensibility that appreciates the exaggerated, artificial, and stylized aspects of art and cultural phenomena.

    • Camp is seen as a love for the unnatural, focusing on artifice and exaggeration. It is contrasted with more traditional sensibilities that may appreciate beauty in nature or straightforwardness in content.

    • Camp operates almost like a private code, primarily understood and shared within specific urban cliques.

  • Purpose of Discussion

    • The act of discussing Camp is seen as betraying its nature; however, it can offer edification or resolution of internal conflict concerning one's sensibilities.

    • The author, Susan Sontag, expresses a dual attraction and repulsion toward Camp, which enables her to explore and analyze it critically.

SENSIBILITY AND TASTE

  • Sensibility

    • A sensibility is described as distinct from ideas; it consists of preferences or attractions that are often not rationalized or understood.

    • Sontag argues that taste plays a critical role in all human responses, including visual and moral judgments.

    • Taste can manifest unevenly across different domains (people, art, ideas), and overall taste is characterized by a lack of formal system or proof.

  • Logic of Taste

    • While there is logic underlying taste, it is more about consistent sensibility than about rigid systems.

    • To articulate a living and powerful sensibility, one must be tentative and nimble, favoring forms of jottings over linear essays, which may render Camp inferior.

  • Cultural References

    • Sontag’s notes are dedicated to Oscar Wilde, who encapsulates the aesthetic sensibility of Camp, arguing one should either embody or adorn artistry.

CAMP AS A AESTHETIC

  • Characteristics of Camp

    1. Camp focuses on stylization rather than beauty or moral content. It emphasizes forms and styles, often disengaged from political contexts.

    2. Camp can be discerned not just in taste but also in various artworks and behaviors, such as films and literature.

    3. Not everything is Camp; the Camp perspective alters experiences but does not make everything Camp.

    4. Examples of Camp artifacts:

    • Cultural references include:

      • Zuleika Dobson, Tiffany lamps, Scopitone films

      • Brown Derby Restaurant, The Enquirer headlines,

      • Aubrey Beardsley drawings, Swan Lake, Bellini operas.

      • Various films, opera directed by Visconti, and vintage picture postcards

    • Women's fashion from the 1920s and the works of Ronald Firbank and Ivy Compton-Burnett also exemplify Camp sensibility.

    1. Camp is associated with certain art forms, particularly decorative arts; however, classical music often lacks the extraneous nature required for something to be considered Camp. Examples: concert music has rarely been deemed Camp due to its serious form.

    2. The phrase "It's too good to be Camp" demonstrates a relationship between quality and Camp sensibility, wherein higher-quality content may not fit into the category.

    3. Camp thrives on artifice, existing in urban creations; nature lacks the necessary elements for Camp.

    4. Camp adopts a unique style that often involves the exaggerated and the unrealistic, seen significantly in the Art Nouveau movement, which converts typical objects into extravagant forms.

    5. Camp accepts and responds to the androgynous aesthetics and exaggeration of personality traits; notable examples include the figures in pre-Raphaelite art and the exaggerated styles of iconic film stars.

  1. Camp sees through a lens of irony, implying all objects and figures play roles in a theatrical setting rather than existing in earnest.

  2. Camp embraces epicene style, questioning gender dichotomies.

  3. The inquiry surrounding Camp is not about why it occurs but when theatricality attains Camp significance.

  4. Camp's roots trace back to the 18th century, when it began to establish its taste distinct from nature and a sentimental attitude toward history.

CAMP AS A CULTURAL PHENOMENON

  • Historical Context

    • The emergence of Camp evolved alongside the ‘mannerist’ artists of the late 17th and early 18th centuries who depicted artifice and style.

    • Important figures include Alexander Pope, William Congreve, and the rococo aesthetic movement, influencing the overtly decorative qualities of Camp.

    • Camp aestheticism recognized in iconic movements like Art Nouveau is often juxtaposed with political motifs, creating a disconnection with seriousness.

  • Interplay of Camp and Seriousness

    • Camp distinguishes itself from ‘high culture’ appreciation by asserting that failed seriousness can possess its merits.

    • All Camp artifacts have inherent artificiality; therefore, the serious nature of the artist's intentions often contributes to a greater understanding of Camp’s emotive qualities.

  • Ambivalence within Camp

    • The essence of Camp relies on a genuine seriousness that unravels in its failure, indicated by the appropriate blend of exaggeration and naive approaches.

    • Mediocrity does not yield Camp, as it typically arises when ambition leads to excessive or unparalleled execution, revealing worthwhile enjoyment in flaws or failures.

CAMP IN SOCIETY

  • Sociocultural Dynamics

    • Camp represents enjoyment across the spectrum of culture, finding humor in failures and missteps of humanity, cherishing even the trivial aspects of life.

    • Camp overthrows traditional aesthetic judgments, instead offering alternate standards that value the vividness, theatricality, and the glamor found in exaggerated styles.

  • Camp and Identity

    1. Relates significantly to the homosexual experience, representing a collective, often self-reflective understanding of the self through theatricality; while Camp resonates with the LGBTQ+ community, it transcends sole identification with it.

    2. The discourse around Camp often creates an improvised class of tastemakers, highlighting a uniqueness in appreciation and identity.

    3. Camp acts as a counterreaction to traditional seriousness, fostering playfulness in conversations and artistic practices.

    4. The formation of Camp taste offers liberating qualities through appreciation of ‘bad taste,’ positing it as a worthy aesthetic. The pleasure derived from Camp is pivotal in fostering a sense of community and self-acceptance within broader and often marginalized societies.

CONCLUSION ON CAMP

  • Legacy and Future of Camp

    • The notion of Camp is not static; shifts in societal norms, values, and collective cultural identities can reshape what is considered Camp over time.

    • Acknowledging the aesthetics of Camp reveals the alliance between pleasure and privilege, especially in affluent contexts, where the psychopathology of affluence informs the enjoyment and engagement with Camp sensibilities.

    • Camp provides insight into the nuances of taste—particularly how individuals navigate the complex terrain between seriousness and frivolity in modern cultural landscapes.

    • Final Thoughts

    • Camp resonates as a mode of enjoyment, appreciation, and a celebration of human experience—steering clear of harsh judgments while fostering connection, humor, and a playful view of the world.