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.
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