We conclude our Camp Cinema season with our eighth episode covering Johnny Guitar (1954) and Imitation of Life (1959).

In our finale, we delve into the origins of Camp Cinema in the 1950s, spotlighting Nicholas Ray's flamboyant western Johnny Guitar and Douglas Sirk's melodramatic Imitation of Life. Johnny Guitar subverts the traditional male bravado typical of most westerns by pitting two powerful women against each other. The visual artistry of Ray and his cinematographer, Harry Stradling, reveals the campy essense of the film with a rich palette of canary yellows, baked terra cottas, and deep azures.

Imitation of Life achieves a similar feat, but with emotional resonance rather than visual flair. During our 1950s season, we explored Todd Haynes' commendable Douglas Sirk hommage, Far From Heaven. But nothing compares to the authentic touch of Sirk himself. Sirk masterfully understood cinema's power over an audience, manipulating emotions with precision in Imitation of Life. Its finale is one of the most emotionally explosive moments ever captured on celluloid. Camp manifest is many forms. Here we have two films that seem diametrically opposed in genre, but both use camp to full effect to elicit a deep response.