The Narrative Unbuttoned and Unbound

In “Recovered Innocence”, Sitney explains how the disillusionment and innocence portrayed in Ken Jacob’s work. Sitney states that Jacobs wanted to achieved disorder throughout all of his films. In “Notes on Camp”, Susan Sontag explains how there is not a simple definition for camp. She states that “Camp, in particular, has never been discussed. It is not a natural mode of sensibility, if there be any such. Indeed the essence of Camp is its love of the unnatural: of artifice and exaggeration. And Camp is esoteric — something of a private code, a badge of identity even, among small urban cliques.” (Sontag 1)  The idea of camp is confusing but can still be defined as something unnatural or exaggeration. Sontag quoted from Oscar Wilde stating how “Camp is a certain mode of aestheticism. It is one way of seeing the world as an aesthetic phenomenon. That way, the way of Camp, is not in terms of beauty, but in terms of the degree of artifice, of stylization.” Camp is defined as a certain style, extravagance, and love for human nature.

In “The Perfect Queer Appositeness of Jack Smith”, Jerry Tartaglia writes about some of Jack Smith’s films and states how he wanted to be different than his other filmmaker peer, but wanted to “mimic the Hollywood cinema of his childhood, whether his colleagues wanted to work in opposition to the aesthetics of Hollywood.” (pg. 164) Jack Smith was one of the most accomplished and influential underground artists in the 1960s, 1970s, and 1980s.

In “George Kuchar”, Scott MacDonald states how the life of George Kuchar with his twin brother and his work with experimental film. MacDonald implies that Kuchar wanted to humanize film and not let film simply entertain the audience. He also used sexploitation and authenticity.

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