Camping it up with EMI: The politics of the intersection of British film production with the notion of camp

Authors: Bradley, P.

Journal: Journal of British Cinema and Television

Volume: 18

Issue: 1

Pages: 77-95

eISSN: 1755-1714

ISSN: 1743-4521

DOI: 10.3366/JBCTV.2021.0556

Abstract:

This article will explore two camp films released by EMI: the Danny La Rue star vehicle Our Miss Fred (1972) and the Village People biopic Can’t Stop the Music (1980), locating them within a broader tradition of British farcical humour and their respective cultural and industrial contexts. Through an examination of how these films operated as entertainment, the article argues that the intersection of EMI Films and camp actually helped to influence and modify cultural and social attitudes, particularly with regard to the gradual acceptance of the representation of queerness in 1970s and 1980s culture.

http://eprints.bournemouth.ac.uk/35192/

Source: Scopus

Camping It up with EMI: The Politics of the Intersection of British Film Production with the Notion of Camp

Authors: Bradley, P.

Journal: JOURNAL OF BRITISH CINEMA AND TELEVISION

Volume: 18

Issue: 1

Pages: 77-95

eISSN: 1755-1714

ISSN: 1743-4521

DOI: 10.3366/jbctv.2021.0556

http://eprints.bournemouth.ac.uk/35192/

Source: Web of Science (Lite)

Camping it up with EMI: The politics of the intersection of British film production with the notion of camp.

Authors: Bradley, P.

Journal: Journal of British Cinema and Television

Volume: EMI Films

Publisher: Edinburgh University Press

ISSN: 1743-4521

Abstract:

This article will examine how the appropriation of camp by the mainstream media of cinema, specifically EMI as a successful international British Film production company, expressed a particular British cultural specificity. Whether engaging with unique UK iconic camp figures, such as Danny La Rue in ‘Our Miss Fred’ (1972) or exploring gay identity with US cult figures The Village People in ‘Can't Stop the Music’.(1980), the British sensibility that pervades these films, expresses a national identity in its treatment and production that is peculiar to EMI. Through an examination of how these and other camp films made by EMI, operate in both a national and international media environment as entertainment, it is hoped to discover how the intersection of EMI films and camp actually helped to influence and modify cultural and social attitudes at the time

http://eprints.bournemouth.ac.uk/35192/

Source: Manual