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<blockquote data-quote="Ruin Explorer" data-source="post: 8263515" data-attributes="member: 18"><p>I'd agree with all of that including specific examples. Re: camp I think the issue is simply that by it's broadest definition the vast majority virtually all non-realist cinema is camp - Die Hard is camp, A River Runs Through It is camp, The Matrix is camp, Little Women is camp, La Dolce Vita is camp, Psycho is camp, almost everything Al Pacino has ever been in is camp, with the odd possibly exception of Dog Day Afternoon, which despite being about queer subjects (and thus the original meaning of camp), is so relatively down-to-earth that it maybe isn't camp. Whereas if we used a tighter and more useful definition of "camp", only The Matrix and Psycho of that list (er and various Al Pacino movies - The Scent of a Woman stands out) would be actually camp. So I think stuff like "humourous" or "over-the-top" or "exaggerated" is indeed perhaps more useful than camp except for movies which are profoundly in the camp "strike zone" (real bonus if there's some queer sexuality in there - the height of camp is of course the horror-themed Rocky Horror Picture Show - but there are queer or queer-adjacent horror movies that are not camp - Ginger Snaps springs to mind).</p><p></p><p>But er I'm maundering on.</p><p></p><p>Agree re: Bride of Frankenstein though my favourite Frankenstein-related movie remains the hysterical Young Frankenstein, which is clearly not horror (I would never have watched it except my mum said I'd love it and it had both Gene Wilder and Marty Feldman in it). Promethean monsters, particularly Frankenstein's monster have, imho, rarely been done justice in movies, despite countless attempts (many in the sci-fi sphere), which is a pity because conceptually I think it's one of the most compelling of the movie monsters (ones trying to stick close to Mary Shelley's book tend to end in particular tears). Blade Runner which is only arguably about the same subject is probably the best attempt.</p></blockquote><p></p>
[QUOTE="Ruin Explorer, post: 8263515, member: 18"] I'd agree with all of that including specific examples. Re: camp I think the issue is simply that by it's broadest definition the vast majority virtually all non-realist cinema is camp - Die Hard is camp, A River Runs Through It is camp, The Matrix is camp, Little Women is camp, La Dolce Vita is camp, Psycho is camp, almost everything Al Pacino has ever been in is camp, with the odd possibly exception of Dog Day Afternoon, which despite being about queer subjects (and thus the original meaning of camp), is so relatively down-to-earth that it maybe isn't camp. Whereas if we used a tighter and more useful definition of "camp", only The Matrix and Psycho of that list (er and various Al Pacino movies - The Scent of a Woman stands out) would be actually camp. So I think stuff like "humourous" or "over-the-top" or "exaggerated" is indeed perhaps more useful than camp except for movies which are profoundly in the camp "strike zone" (real bonus if there's some queer sexuality in there - the height of camp is of course the horror-themed Rocky Horror Picture Show - but there are queer or queer-adjacent horror movies that are not camp - Ginger Snaps springs to mind). But er I'm maundering on. Agree re: Bride of Frankenstein though my favourite Frankenstein-related movie remains the hysterical Young Frankenstein, which is clearly not horror (I would never have watched it except my mum said I'd love it and it had both Gene Wilder and Marty Feldman in it). Promethean monsters, particularly Frankenstein's monster have, imho, rarely been done justice in movies, despite countless attempts (many in the sci-fi sphere), which is a pity because conceptually I think it's one of the most compelling of the movie monsters (ones trying to stick close to Mary Shelley's book tend to end in particular tears). Blade Runner which is only arguably about the same subject is probably the best attempt. [/QUOTE]
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