Размер шрифта: Фон:

UDC 778.5.77
DOI: 10.30628/1994-9529-2022-18.1-81-109
EDN: ANMYKY

NINA A. TSYRKUN
Iskusstvo Kino journal,
Arbat, 35, office 553, 119002, Moscow, Russia
ResearcherID: AFT-2358-2022
ORCID: 0000-0002-6723-5870
e-mail: tsyrkun@mail.ru

For citation
Tsyrkun N.A. (2022). Smart Cinema and Reincarnation of Camp. The Art and Science of Television, 18 (1), 81–109. https://doi.org/10.30628/1994-9529-2022-
18.1-81-109

Smart Cinema and Reincarnation of Camp

Abstract. The juxtaposition of camp and smart cinema in the context of American filmmaking seems justified since both categories fit into a more general notion of Indiewood, reflecting the culture of irony and parody. I consider three comic book movies with their camp characteristics: 1966 Batman by Leslie H. Martinson and 2016–2018 dilogy, Deadpool by Tim Miller and Deadpool 2 by David Leitch. Leslie Martinson’s Batman is one of the first comic book movies in the stylistics of camp, a concept introduced by Susan Sontag. The Deadpool dilogy can be referred to as smart cinema, aimed at a special form of emotional sensibility of the viewers, which brings smart cinema closer to the notion of camp. However, the excessive redundancy and hyperbolism of Batman is to a greater extent quirky and does not reach the level of smart cinema, which implies a more sophisticated “culture” of irony and parody. Deadpool is constructed as a self-referential, mockingly ironic film that uses the technique of breaking down formulaic clichés by accentuating them. Leveraging the resources of its media universe allowed Marvel to spark viewers’ interest. And by mixing various groups in a specific gaming space, by encouraging the audience to participate in discussions of its products on social networks, the studio went beyond the Hollywood unidirectional marketable filmmaking.
Keywords: comic book movies, 1966 Batman, Deadpool, camp, quirky, smart cinema, culture of irony, Marvel universe, marketing ploy, transmedia narrative