What began in the shadows of queer underground culture as a subversive celebration of identity has, over the decades, been transfigured into something far more palatable and considerably less dangerous. The evolution of camp in film tells a tale, not merely of aesthetic evolution, but of cultural assimilation, where the radical edge of theatrical transgression has been dulled by gradual mainstream appropriation.
A critical examination of the integrity of the colour film production proves necessary to uncover the racism embedded in the process of this technology and the cultural use of cameras to reinforce racial hierarchies.
