“Against claims that camp is dead, Katrin Horn argues convincingly that camp is alive and well – and female. Locating lesbian, postfeminist, and queer camp in mainstream popular culture, Horn shows that the camp woman is not the exception to the rule, but that camp's critique of proscribed sex and gender roles remains a crucial strategy in popular culture.” (Pamela Robertson Wojcik, Professor of Film, Television, and Theater, University of Notre Dame, USA)

“This study crashes the party that has confined camp to associations with gay male spectatorship and parodic frivolity. Making the case for camp as a highly adaptive, keenly affective mode of detached attachment, Horn illuminates how women producers and consumers have fun with, and make fun of, popular culture by taking camp seriously. With a dry wit befitting a study of camp, Horn’s engaging, exhaustive analysis of key texts stakes a defiant claim to camp’s pleasures and potential.” (Maria San Filippo, Assistant Professor, Communication and Media Studies, Goucher College, USA)

“Like camp itself, Horn’s book is pleasurably disruptive, making us rethink and reframe our favorite critics on this topic as well as our favorite performances and stars. Locating D.E.B.S., But I’m a Cheerleader, 30 Rock, and Lady Gaga on the same yellow brick road, Horn makes a stunning case for camp’s feminism, queerness, diva power, and wicked political chops.” (Linda Mizejewski, Professor of Women’s, Gender, and Sexuality Studies, Ohio State University, USA)