Dec 3
By Conor Heffernan
Troops storm into the house and forcibly evicting those inside. Screams of terror emanate from the house, growing louder and louder with each moment. Soon the house will be set on fire. In the melee that ensues, troops single out a woman known for collaborating with the enemy. Held down at gunpoint, her head is shaved. In the distance, fighters from the other side look on as she wails.
The film Selma opened on 9 January 2015 to a barrage of criticism about its historical accuracy. Though unable to use any of Dr. Martin Luther King Jr.’s words due to copyright issues, the movie attempted to recreate the tense scene in Selma, Alabama on the eve of the passing of the 1965 Voter’s Right Act.[1] Providing fodder for cinema critics were reenactments of several important touchstones of the American Civil Rights Movement: Bloody Sunday, the struggle between the Student Non-Violent Coordinating Commission (SNCC) and Southern Christian Leadership Council (SCLC), as well as Martin Luther King’s relationship with Lyndon Johnson. Read more
by Federica Tammarazio
Università degli Studi di Genova, Italy
For LGBT History month, we are happy to host art historian Federica Tammarazio to celebrate the anniversary of “Notes on camp” by Susan Sontag.
Fifty years ago (fifty-one actually) art critic Susan Sontag published “Notes on camp“, a series of reflections on Camp culture. According to her own definition, “Notes on camp” was not meant to be a manifesto, but rather a tool to define and understand ‘camp’ sensitivity, which she thought “more appropriate for getting down something of this particular fugitive sensibility. It’s embarrassing to be solemn and treatise-like about Camp”[1]
What was camp back then? And what is it now?
