Description
What does camp have to do with capitalism? How have queer men created a philosophy of commodity culture? Why is cinema central to camp? With chapters on the films of Vincente Minnelli, Andy Warhol, Kenneth Anger, and John Waters, Working Like a Homosexual responds to these questions by arguing that post-World War II gay male subcultures have fostered their own ways not only of consuming mass culture but of producing it as well.
With a special emphasis on the tensions between high and low forms of culture and between good and bad taste, Matthew Tinkcom offers a new vision of queer politics and aesthetics that is critically engaged with Marxist theories of capitalist production. He argues that camp-while embracing the cheap, the scorned, the gaudy, the tasteless, and what Warhol called "the leftovers" of artistic production-is a mode of intellectual production and a critical philosophy of modernity as much as it is an expression of a dissident sex/gender difference. From Minnelli's musicals and the "everyday glamour" of Warhol's films to Anger's experimental films and Waters's "trash aesthetic," Tinkcom demonstrates how camp allowed these gay men to design their own relationship to labor and to history in a way that protected them from censure even as they struggled to forge a role for themselves within a system of "value" that failed to recognize them.
About the Author
Reviews
"A brilliant, innovative study of camp that exceeds the terms in which this topic traditionally has been conceived. The result is a reformulation of camp as queer industrial labor, from the perspective of the production as well as the reception of that work. Anyone working on camp will hereafter have to reckon with this book."-Steven Cohan, author of Masked Men: Masculinity and the Movies in the Fifties
Book Information
ISBN 9780822328896
Author Matthew Tinkcom
Format Paperback
Page Count 240
Imprint Duke University Press
Publisher Duke University Press
Series Series Q
Weight(grams) 381g
With a special emphasis on the tensions between high and low forms of culture and between good and bad taste, Matthew Tinkcom offers a new vision of queer politics and aesthetics that is critically engaged with Marxist theories of capitalist production. He argues that camp-while embracing the cheap, the scorned, the gaudy, the tasteless, and what Warhol called "the leftovers" of artistic production-is a mode of intellectual production and a critical philosophy of modernity as much as it is an expression of a dissident sex/gender difference. From Minnelli's musicals and the "everyday glamour" of Warhol's films to Anger's experimental films and Waters's "trash aesthetic," Tinkcom demonstrates how camp allowed these gay men to design their own relationship to labor and to history in a way that protected them from censure even as they struggled to forge a role for themselves within a system of "value" that failed to recognize them.
About the Author
Matthew Tinkcom is Assistant Professor of English and of Communication, Culture, and Technology at Georgetown University.
Reviews
"A brilliant, innovative study of camp that exceeds the terms in which this topic traditionally has been conceived. The result is a reformulation of camp as queer industrial labor, from the perspective of the production as well as the reception of that work. Anyone working on camp will hereafter have to reckon with this book."-Steven Cohan, author of Masked Men: Masculinity and the Movies in the Fifties
Book Information
ISBN 9780822328896
Author Matthew Tinkcom
Format Paperback
Page Count 240
Imprint Duke University Press
Publisher Duke University Press
Series Series Q
Weight(grams) 381g
