- Paperback: 240 pages
- Publisher: Duke University Press (Mar 18 2002)
- Language: English
- ISBN-10: 0822328895
- ISBN-13: 978-0822328896
- Product Dimensions: 2.4 x 1.5 x 0.2 cm
- Shipping Weight: 390 g
- Average Customer Review: 3.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: #926,675 in Books (See Top 100 in Books)
- See Complete Table of Contents
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Product Details |
Product Description
Review
"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 labour, 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 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 ever-fascinating tensions between high and low forms of culture and between good and bad taste, and in critical engagement with Marxist theories of capitalist production, Matthew Tinkcom offers a new vision of queer politics and aesthetics. 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 philosophy of modernity, as much as it is an expression of a dissident sex/gender difference.From Minelli's musicals and the 'everyday glamor' 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 an identity within a system of 'value' that failed to recognize them. Students and scholars of cinema, queer studies, Marxism, modernism, popular culture, and political economy will enjoy this book.
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Front Cover | Copyright | Table of Contents | Excerpt | Index
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Most helpful customer reviews
3.0 out of 5 stars
"Working" requires a bit of labor on the part of the reader,
By Chadwick Roberts (Athens, Ohio United States) - See all my reviews
This review is from: Working Like a Homosexual: Camp, Capital, and Cinema (Hardcover)
Tinkcom's text is hard to digest at times, especially the lengthy introduction that exposes the manuscript's origin as a dissertation. Work through the intro pays off for tenacious readers, as the book is an insightful inquiry into camp using Marxist theory and a menagerie of examples drawn from both "high" and "low" forms of filmic art. The author does a decent job of historicizing different types of cinematic queer cultural production while engaging his assertion that camp forms a critique of capitalism. If one can muddle through the excessively exhaustive introduction they will find the cinematic examples the author uses and the research he has undertaken compelling. One can only hope that Tinkcom's work is indicative of forthcoming scholarly inquiries critically engaging queer subjectivity in the vein of Richard Dyer's recent and more accessible volume of essays, The Culture of Queers (2002).
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Most Helpful Customer Reviews on Amazon.com (beta) Amazon.com:
3.0 out of 5 stars (1 customer review) 1 of 4 people found the following review helpful
3.0 out of 5 stars
"Working" requires a bit of labor on the part of the reader,
By Chadwick Roberts - Published on Amazon.com
This review is from: Working Like a Homosexual: Camp, Capital, and Cinema (Hardcover)
Tinkcom's text is hard to digest at times, especially the lengthy introduction that exposes the manuscript's origin as a dissertation. Work through the intro pays off for tenacious readers, as the book is an insightful inquiry into camp using Marxist theory and a menagerie of examples drawn from both "high" and "low" forms of filmic art. The author does a decent job of historicizing different types of cinematic queer cultural production while engaging his assertion that camp forms a critique of capitalism. If one can muddle through the excessively exhaustive introduction they will find the cinematic examples the author uses and the research he has undertaken compelling. One can only hope that Tinkcom's work is indicative of forthcoming scholarly inquiries critically engaging queer subjectivity in the vein of Richard Dyer's recent and more accessible volume of essays, The Culture of Queers (2002).
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