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Camp taste has an affinity for certain arts rather than others. Clothes, furniture, all the elements of visual décor, for instance, make up a large part of Camp. For Camp art is often decorative art, emphasizing texture, sensuous surface, and style at the expense of content. Concert music, though, because it is contentless, is rarely Camp.
It offers no opportunity, say, for a contrast between silly or extravagant content and rich form. Sometimes whole art forms become saturated with Camp.
Classical ballet, opera, movies have seemed so for a long time. More on this later. Not all, though. Not only is Camp not necessarily bad art, but some art which can be approached as Camp example: the major films of Louis Feuillade merits the most serious admiration and study. All Camp objects, and persons, contain a large element of artifice. Nothing in nature can be campy. Rural Camp is still man-made, and most campy objects are urban.
Yet, they often have a serenity — or a naiveté — which is the equivalent of pastoral. Camp is a vision of the world in terms of style — but a particular kind of style. The best example is in Art Nouveau, the most typical Diane Keaton despre secretul anti-îmbătrânire a lui Ellen fully developed Camp style.
Art Nouveau objects, typically, convert one thing into something else: the lighting fixtures in the form of flowering plants, the living room which is really a grotto. A remarkable example: the Paris Métro entrances designed by Hector Guimard in the late s in the shape of cast-iron orchid stalks.
As a taste in persons, Camp responds particularly to the markedly attenuated and to the strongly exaggerated.
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The androgyne is certainly one of the great images of Camp sensibility. Examples: the swooning, slim, sinuous figures of pre-Raphaelite painting and poetry; the thin, flowing, sexless bodies in Art Nouveau prints and posters, presented in relief on lamps and ashtrays; the haunting androgynous vacancy behind the perfect beauty of Greta Garbo.
What is most beautiful in virile men is something feminine; what is most beautiful in feminine women is something masculine. For obvious reasons, the best examples that can be cited are movie stars. Camp sees everything in quotation marks.
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It is the farthest extension, in sensibility, of the metaphor of life as theater. Camp is the triumph of the epicene style. Life is not stylish. Neither is nature. The dividing line seems to fall in the 18th century; there the origins of Camp taste are to be found Gothic novels, Chinoiserie, caricature, artificial ruins, and so forth.
But the relation to nature was quite different then.
In the 18th century, people of taste either patronized nature Strawberry Hill or attempted to remake it into something artificial Versailles. They also indefatigably patronized the past. And the relation of Camp taste to the past is extremely sentimental. A pocket history of Camp might, of course, begin farther back — with the mannerist artists like Pontormo, Rosso, and Caravaggio, or the extraordinarily theatrical painting of Georges de La Tour, or Euphuism Lyly, etc.
The late 17th and early 18th century is the great period of Camp: Pope, Congreve, Walpole, etc, but not Swift; les précieux in France; the rococo churches of Munich; Pergolesi.
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Somewhat later: much of Mozart. But in the 19th century, what had been distributed throughout all of high culture now becomes a special taste; it takes on overtones of the acute, the esoteric, the perverse. Of course, to say all these things are Camp is not to argue they are simply that. A full analysis of Diane Keaton despre secretul anti-îmbătrânire a lui Ellen Nouveau, for instance, would scarcely equate it with Camp. But such an analysis cannot ignore what in Art Nouveau allows it to be experienced as Camp.
This tells us something important about Art Nouveau — and about what the lens of Camp, which blocks out content, is. Thus, the Camp sensibility is one that is alive to a double sense in which some things can be taken. But Diane Keaton despre secretul anti-îmbătrânire a lui Ellen is not the familiar split-level construction of a literal meaning, on the one hand, and a symbolic meaning, on the other.
It is the difference, rather, between the thing as meaning something, anything, and the thing as pure artifice. To camp is a mode of seduction — one which employs flamboyant mannerisms susceptible of a double interpretation; gestures full of duplicity, with a witty meaning for cognoscenti and another, more impersonal, for outsiders.
One must distinguish between naïve and deliberate Camp. Pure Camp is always naive. The pure examples of Camp are unintentional; they are dead serious. The Art Nouveau craftsman who makes a lamp with a snake coiled around it is not kidding, nor is he trying to be charming. He is saying, in all earnestness: Voilà! Genuine Camp — for instance, the numbers devised for the Warner Brothers musicals of the early thirties 42nd Street; The Golddiggers of ; … of ; … of ; etc.
Camping — say, the plays of Noel Coward — does. It seems unlikely that much of the traditional opera repertoire could be such satisfying Camp if the melodramatic absurdities of most opera plots had not been taken seriously by their composers.
The work tells all.
Nimic de genul asta!
Probably, intending to be campy is always harmful. The perfection of Trouble in Paradise and The Maltese Falcon, among the greatest Camp movies ever made, comes from the effortless smooth way in which tone is maintained.
Perhaps, though, it is not so much a question of the unintended effect versus the conscious intention, as of the delicate relation between parody and self-parody in Camp. The films of Hitchcock are a showcase for this problem.
So, again, Camp rests on innocence.
That means Camp discloses innocence, but also, when it can, corrupts it. Persons, however, respond to their audiences. Persons can even be induced to camp without their knowing it.
Considered a little less strictly, Camp is either completely naive or else wholly conscious when one plays at being campy. People are either charming or tedious. In naïve, or pure, Camp, the essential element is seriousness, a seriousness that fails.
Of course, not all seriousness that fails can be redeemed as Camp. Only that which has the proper mixture of the exaggerated, the fantastic, the passionate, and the naïve. The hallmark of Camp is the spirit of extravagance. Camp is a woman walking around in a dress made of three million feathers.
In Camp there is often something démesuré in the quality of the ambition, not only in the style of the work itself. The public manner and rhetoric of de Gaulle, often, are pure Camp. A work can come close to Camp, but not make it, because it succeeds.
What is extravagant in an inconsistent or an unpassionate way is not Camp. Neither can anything be Camp that does not seem to spring from an irrepressible, a virtually uncontrolled sensibility.
Without passion, one gets pseudo-Camp — what is merely decorative, safe, in a word, chic. But the two things — Camp and preciosity — must not be confused. Again, Camp is the attempt to do something extraordinary. But extraordinary in the sense, often, of being special, glamorous.
The curved line, the extravagant gesture. Not extraordinary merely in the sense of effort. These items, either natural oddities the two-headed rooster, the eggplant in the shape of a cross or else the products of immense labor the man who walked from here to China on his hands, the woman who engraved the New Testament on the head of a pinlack the visual reward — the glamour, the theatricality — that marks off certain extravagances as Camp.
The reason a movie like On the Beach, books like Winesburg, Ohio and For Whom the Bell Tolls are bad to the point of being laughable, but not bad to the point of being enjoyable, is that they are too dogged and pretentious. They lack fantasy. There is Camp in such bad movies as The Prodigal and Samson and Delilah, the series of Italian color spectacles featuring the super-hero Maciste, numerous Japanese science fiction films Rodan, The Mysterians, The H-Man because, in their relative unpretentiousness and vulgarity, they are more Diane Keaton despre secretul anti-îmbătrânire a lui Ellen and irresponsible in their fantasy — and therefore touching and quite enjoyable.
Of course, the canon of Camp can change. Time has a great deal to do with it. We are better able to enjoy a fantasy as fantasy when it is Diane Keaton despre secretul anti-îmbătrânire a lui Ellen our own.
This is why so many of the objects prized by Diane Keaton despre secretul anti-îmbătrânire a lui Ellen taste are old-fashioned, out-of-date, démodé. When the theme is important, and contemporary, the failure of a work of art may make us indignant. Time can change that. Time liberates the work of art from moral relevance, delivering it over to the Camp sensibility.
Another effect: time contracts the sphere of banality. Banality is, strictly speaking, always a category of the contemporary. What was banal can, with the passage of time, become fantastic.
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Many people who listen with delight to the style of Rudy Vallee revived by the English pop group, The Temperance Seven, would have been driven up the wall by Rudy Vallee in his heyday. Thus, things are campy, not when they become old — but when we become less involved in them, and can enjoy, instead of be frustrated by, the failure of the attempt.
But the effect of time is unpredictable.
And maybe not. De Mille, Crivelli, de Gaulle, etc. What the Camp eye appreciates is the unity, the force of the person.
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This is clear in the case of the great serious idol of Camp taste, Greta Garbo. Character is understood as a state of continual incandescence — a person being one, very intense thing.
This attitude toward character is a key element of the theatricalization of experience embodied in the Camp sensibility. And it helps account for the fact that opera and ballet are experienced as such rich Diane Keaton despre secretul anti-îmbătrânire a lui Ellen of Camp, for neither of these forms can easily do justice to the complexity of human nature.
Wherever there is development of character, Camp is reduced. Among operas, for example, La Traviata which has some small development of character is less campy than Il Trovatore which has none.
Vrem să fim perfecți, să avem o frumusețe de Photoshop și să obținem tinerețe fără bătrânețe. În ultimele decenii ne-am creat o cultură care promovează și susține frumusețea artificială și continua căutare a perfecțiunii în detrimentul naturaleții și acceptării de sine. Micile noastre averi se duc pe operații estetice care sunt menite să ne aducă o încredere și stimă de sine, dar care, în final, ajung să ne transforme în persoane depresive cu fețe de păpuși desfigurate. Principalele victime care au căzut în plasa mirajului operațiilor estetice și a promisiunilor de frumusețe și tinerețe veșnică au fost, bineînțeles, vedetele și persoane publice. Treptat însă, valul persoanelor dependente de operații estetice a crescut considerabil, chiar dacă am fost toți martorii unor eșecuri lamentabile.
Camp taste turns its back on the good-bad axis of ordinary aesthetic judgment. What it does is to offer for art and life a different — a supplementary — set of standards. Ordinarily we value a work of art because of the seriousness and dignity of what it achieves. We value it because it succeeds — in being what it is and, presumably, in fulfilling the intention that lies behind it.
We assume a proper, that is to 17 septembrie suisse anti aging, straightforward relation between intention and performance.
Francis, Napoleon, Savonarola. In short, the pantheon of high culture: truth, beauty, and seriousness. But there are other creative sensibilities besides the seriousness both tragic and comic of high culture and of the high style of evaluating people. And one cheats oneself, as a human being, if one has respect only for the style of high culture, whatever else one may do or feel on the sly. For instance, there is the kind of seriousness whose trademark is anguish, cruelty, derangement.
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Here we do accept a disparity between intention and result. I am speaking, obviously, of a style of personal existence as well as of a style in art; but the examples had best come from art. Think of Bosch, Sade, Rimbaud, Jarry, Kafka, Artaud, think of most of the important works of art of the 20th century, that is, art whose goal is not that of creating harmonies but of overstraining the medium and introducing more and more violent, and unresolvable, subject-matter.
This sensibility also insists on the principle that an oeuvre in the old sense again, in art, but also in life is not possible. Clearly, different standards apply here than to traditional high culture. Something is good not because it is achieved, but because another kind of truth about the human situation, another experience of what it is to be human — in short, another valid sensibility — is being revealed.
And third among the great creative sensibilities is Camp: the sensibility of failed seriousness, of the theatricalization of experience.
Camp refuses both the harmonies of traditional seriousness, and the risks of fully identifying with extreme states of feeling.