In 1964, Susan Sontag
published “Notes on ‘Camp’”, considered the first attempt to discuss Camp in writing.
Sontag labels Camp as a sensibility, “distinct from an idea” (para. 2), she
notes, in that “any sensibility which can be crammed into the mold of a system,
or handled with the rough tools of proof, is no longer a sensibility at all. It
has hardened into an idea” (para. 4). As such, she remains skeptical in
applying concrete conclusions and definitions to Camp, choosing to forgo a
formal essay in favor of a series of notes. In these notes, Sontag describes
Camp as above all else the “love of the unnatural: of artifice and
exaggeration” (para. 2), then proceeding to elaborate on the ways in which Camp
manifests, operates, and differs from similar concepts.
“Notes on ‘Camp’” remains
influential for Sontag’s adept understanding of how Camp compiles itself from
cultural objects as a “logic of taste” (para. 4). In this article, I want to
begin to examine Sontag’s notes and try to present Camp’s usefulness in the
context of themed entertainment. To do so, I will be looking specifically at
Disney’s Hollywood Studios, where the broad themed focus on the movie industry
is construed through a lens of abstraction that, I argue, is Campy in
accordance with Sontag’s theory. From this case study, I hope to illuminate
ways in which the harnessing of Camp serves as a powerful attracting force for
the general public.