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An important element of aestheticism is its emphasis on exaggerated stylization which emphasizes incongruities (122).

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The final, and most important, element of camp is humor, which Babuscio calls "the strategy of camp: a means of dealing with a hostile environment and, in the process, of defining a positive identity" (126).

Queer camp humor, according to Babuscio, consists primarily of "bitter wit," a cutting irony based on the knowledge that society's joke is on you and a comic downplaying of resultant frustration and fear.

Likewise, in the all-female Takarazuka Revue, founded in 1913, particular women, known as in particular rapidly became associated with adolescent explorations of gender and identity.

After more than thirty years, critics (particularly those in the West) still struggle to understand the popularity of with young girls. The first, a largely feminist reading, indicates that young women beginning to struggle with the circumscribed gender roles laid out for them by the highly patriarchal structure of Japanese society displace their fantasies of power and liberation onto feminized male characters who display female personality traits yet enjoy the freedoms of the traditional male.

The notion that fan parody is analogous to Western camp warrants further examination, as the inclusion of this specifically Japanese medium can add new contours to our understanding of camp and the subtle ways it works to undermine oppressive cultural norms.

In a 1978 essay on camp cinema, Jack Babuscio sets up four basic features of camp: irony, aestheticism, theatricality and humor.

In the western tradition of camp, this move is often associated with queer appropriations of popular culture, the most obvious being the overdramatic drag queen, who calls attention to the role playing associated with the female gender by overemphasizing it to a degree that, in the right hands, can be sublimely ridiculous.

Similarly, the more recent Japanese tradition of fan parody is associated with by creating their own counternarratives that involve well-known characters in fantastic, often absurd, situations and unexpected homoerotic pairings, creating a subtext that complicates and questions the inclusiveness of the master narrative.

The second pivots on a more practical concern: began to gain popularity during a period when the very suggestion of sexualization of the adolescent female was considered highly taboo, thus making it impossible to depict erotic relationships between heterosexual teenagers and forcing the to utilize (specifically male) homosexual pairings if she wished to deal with physical relationships. It suggests that adolescent girls, afraid to face their own burgeoning sexuality, cope with their new found impulses and desires by projecting them onto a male character, thereby making the sexual conduct in characters, and letters from predominately female readers describing fantasies of male-male and occasionally female-female desire, suggests that a clear correlation was taking place between the beautiful boys and their readers (857).

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