The Bride of Frankenstein (1935) Film Review

Bride of Frankenstein

Susan Sontag: Notes on Camp: 1964: The Partisan Review

You thought it (camp) meant a swishy little boy with peroxided hair, dressed in a picture hat and a feather boa, pretending to be Marlene Dietrich? Yes, in queer circles they call that camping. … You can call [it] Low Camp
Susan Sontag: The Partisan Review 1964

High Camp is the whole emotional basis for ballet, for example, and of course of baroque art … High Camp always has an underlying seriousness. You can’t camp about something you don’t take seriously. You’re not making fun of it, you’re making fun out of it. You’re expressing what’s basically serious to you in terms of fun and artifice and elegance. Baroque art is basically camp about religion. The ballet is camp about love …
Susan Sontag: The Partisan Review 1964
DIRECTOR: James Whale
: Director James Whale’s masterpiece is as close to Susan Sontag’s definition of high camp as the movies can deliver. Having arrived in Hollywood with R. C. Sherriff’s “Journey’s End”, Whale was signed by “Uncle” Carl Laemmle to a five-year contract at Universal studios. The result was one of the great periods in Universal’s history with Whale turning out such classics as:
Waterloo Bridge
The Old Dark House
The Invisible Man
The Bride of Frankenstein

Unfortunately, his adaptation of “The Road Back ” (1937), Erich Maria Remarke’s follow-up to “All Quiet on the Western Front”, was not a success, and, by 1941, his film career was over.
POST TITLE: 55 Queer Films Made Under the Hays Code (1934-1967) (Part 1) – TheBrownees
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