30 Rock or Lady Gaga. In detailed analyses of lesbian cinema, postfeminist TV, and popular music, the book offers a novel take on its subject. It defines camp as a unique mode of detached attachment, which builds on affective intensity and emotional investment, while strongly encouraging a critical edge.
表中的内容
1. Beyond Gay Men and After the Closet: Camp’s New Politics and Pleasures.- 2. The History and Theory of Camp. I. Stonewall, Sontag, ‘Sissies, ’ Sirk. II. Camp’s Double Coding: Detachment / Attachment.- 3. The Great Dyke Rewrite – Lesbian Camp on the Big Screen. I. New Queer Cinema. II. Lesbian Chic. III. Girls Gone Camping – But I’m a Cheerleader and D.E.B.S.. IV. Subtext to Sincerity.- 4. TV in/vs. Postfeminism – Feminist Camp in 30 Rock. I. Contemporary Sitcoms and Meta-Reflection. II. Legacy of the Feminist Sitcom. III. Postfeminism in US (Media) Culture. IV. 30 Rock’s Divergences in Comic Format and Narrative Formula. V. “I want to go to there!” – The Camp Routes of 30 Rock’s Leading Ladies. VI. A Sitcom’s Swan Song.- 5. Taking Pop Seriously: Lady Gaga as Camp. I. Gaga for Pop’s Giants – Stars, Divas and the Intimacy of Pop. II. Internet Killed the Video Star – Narrating Metareferentiality across Media. III. “Followthe Glitter Way” – The Monster Ball and Camp Live in Concert. IV. Grotesquely Serious.- 6. Camp: A New, More Complex Relation to the Serious.
关于作者
Katrin Horn is a postdoctoral fellow in American Studies at FAU Erlangen-Nürnberg, Germany. She is co-editor of Stimme, Kultur, Identität (2015) and author of several articles on US American popular music and television.来自同一作者的更多电子书 / 编辑
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