September 15, 2016 – 4:00pm5:15pm
University of Pittsburgh
Emily Crosby, Instructor in GSWS

Often dismissed as lowbrow, simple, and tangled in rural roots, country music has been overlooked by scholars as a site of camp – full of artifice and exaggeration. Therefore, I use Susan Sontag’s famous 1964 “Notes on Camp” as a lens through which to explore how country music star Dolly Parton negotiates the limiting camp binaries of artifice/authenticity, hypersexuality/monogamy, and monstrous/virtuous in order to sustain a mass fan base of disparate audiences. This research, as part of a larger dissertation project, contributes to underexplored areas in camp scholarship and destabilizes gay white men’s “ownership” of camp.