Camp/camp: the collision of style and biopolitics

Country: Canada

City: Ontario

Abstr. due: 07.01.2020

Dates: 26.03.20 — 28.03.20

Area Of Sciences: Sociology;

Organizing comittee e-mail: gradconference2020@gmail.com

Organizers: Comparative Literature, Theory and Criticism, and Hispanic Studies at Western University

 

Camp is also sensed through the work of many filmmakers, such as in Pedro Almodóvar’s signature style, where camp meets high art and has been popular from the 1960s through to the present. Other Hollywood films and Broadway productions have long embraced camp sensibility in many classic films such as Barbarella (1968), Valley of the Dolls (1967), The Rocky Horror Picture Show (1975), and Billy Elliot (2000). Many of these classics also embrace the tyrannical nature of biopolitics that deal with issues in sexuality, disease, abortion, mental illness, and drug use.

We look to bridge an abundance of disconnections between culture and politics through conversations on the polysemic nature of camp. We invite papers in all fields of the Arts & Humanities, which include, but not limited to Comparative Literature, Hispanic Studies, Theory & Criticism, Philosophy, Women’s Studies and Feminist Research, Queer Studies, Film Studies, Geography, Theology, Media Studies, Theatre Studies, History, Indigenous Studies, Music, Classical Studies, Visual Arts, and Postcolonial Studies.

Possible topics:
-Biopolitics (the work of Michel Foucault, Giorgio Agamben, Robert Esposito, etc.)
-Colonialism/post-colonialism (trauma, reconciliation, notions of identity)
-Migration and mobility (politics, ethical issues, the lived reality of being a refugee)
-Aesthetics (camp, kitsch), WJT Mitchell’s pictures, Jeff Koons’ installations
Liteture (genres such as horror, erotica, pulp fiction, romance novels, etc.)
-Telenovelas (Thalía; María, la del barrio; Betty, la fea, and American satires Ugly Betty and Jane the Virgin)
-Geography (‘land back’ movement, Canadian reservation system, geopolitics of the North)
-Decadence
-Camp Icons (Bette Davis, Judy Garland, Tallulah Bankhead, Eartha Kitt, Cher, etc.)
-Queer Studies: RuPaul’s Drag Race and homonationalism, drag queen storytelling
-Feminist studies (feminist embodiment, drag-kings, butch-femme aesthetic)
-Girl power and camp (Wonder Woman, Spice Girls, Glow)
-Camp and capitalism
-Phenomenology of Camp through queer aesthetic experiences/performances/artworks.
-Black Camp (Paris is Burning, Michael Jackson, and Prince)
-Indigenous Camp (Kent Monkman, Adrian Stimson, Sherman Alexie, Joshua Whitehead)
-Education and teaching pedagogy
-Pantomime
-Children’s television and Camp
-Canadian and/or American Politics e.g., “Sassy Trump,” the Cold War and its aftermaths
-Apocalyptic literature/creation stories, dystopian narratives
-Directional nature of camp – revealing or concealing
-Cult films – examples – Addams Family, Hocus Pocus, Pink Flamingos, Whatever Happened to Baby Jane?, Showgirls
-Film/theatre adaptations – examples –  Billy Elliot, The Rocky Horror Picture Show, Little Shop of Horrors, Cabaret
-Auteur Cinema and Camp (Quentin Tarantino, Pedro Almodóvar, Rainer Werner Fassbinder)
-Eurovision: camp and nationalism
-Dandyism
-Camp and “the awful”
-Nostalgia in popular culture (comic books, television, movies: Flash Gordon, Masters of the Universe, Batman, etc.)
-Video games and camp (adaptations, superheroes and supervillains, etc.)

Conference Web-Site: https://call-for-papers.sas.upenn.edu/cfp/2019/11/04/campcamp-the-collision-of-style-and-biopolitics

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