She assumed—as did Oscar Wilde, one of her great influences—that art of all kinds shaped the world.
Camp taste has an affinity for certain arts rather than others. 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.
And movie criticism like lists of "The 10 Best Bad Movies I Have Seen" is probably the greatest popularizer of Camp taste today, because most people still go to the movies in a high-spirited and unpretentious way. There is a sense in which it is correct to say: More on this later.
Many examples of Camp are things which, from Sontag essay "serious" point of view, are either bad art or kitsch. Not only is Camp not necessarily bad art, but some art which can be approached as Camp example: 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. Camp is a vision of the world in terms of style -- but a particular kind of style. It is the love of the exaggerated, the "off," of things-being-what-they-are-not.
The best example is in Art Nouveau, the most typical and fully developed Camp style. Art Nouveau objects, typically, convert one thing into something else: As a taste in persons, Camp responds particularly to the markedly attenuated and to the strongly exaggerated.
The androgyne is certainly one of the great images of Camp sensibility. Here, Camp taste draws on a mostly unacknowledged truth of taste: 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. It is the farthest extension, in sensibility, of the metaphor of life as theater. Camp is the triumph of the epicene style.
The convertibility of "man" and "woman," "person" and "thing. Life is not stylish. 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: 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.On Photography BACK This very passivity -- and ubiquity -- of the photographic record is photography's "message," its aggression.
Images which idealize (like most fashion and animal photography) are no less aggressive than work which makes a virtue of plainness (like class pictures, still lifes of the bleaker sort, and mug shots.
Sontag on Persona One impulse is to take Bergman's masterpiece for granted. Since at least, with the breakthrough into new narrative forms propagated with most notoriety (if not greatest distinction).
Susan Sontag was an incandescent presence in American culture, whether as essayist, fiction writer, filmmaker, or political activist. As a critic, she became the most provocative and . Nov 25, · Susan sontag against interpretation and other essays on the great.
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