Busby Berkeley is a classic example of the what could be considered the “camp” genre. In a scene that revolves around one man’s total infatuation with a lady during a semi-eventful trip through the city, almost everything is dramatized to the extreme. You see this as, the instant he notices her, he becomes completely engrossed in her company. His facial expression becomes almost forcefully happy and he can hardly pay attention to anyone around him while his shift is finished. The tendency to pay attention to those you care about is completely natural, but in this situation the man’s reaction is taken beyond what would be considered ordinary in a typical camp fashion. People vanish and posters of women all melt into one as the man sings his thoughts into reality, illustrating his overwhelming feelings everywhere he goes. Even strangers around the couple on the street seem to engage in the theme of the song, purporting his commitment to the girl as they pass by. This type of over-the-top exhibitionism is particularly evident in the fantasies the man has on the train. He begins by seeing his girl friend’s face everywhere and quickly finds himself engulfed in an extensive and vivid dream world occupied entirely by the same woman. To emphasize his complete obsession with this girl, countless figures are materialized and paraded about in a seemingly endless array of dame inspired theatricality. In these ways, Busby Berkeley’s commitment to the genre is present to the easiest detail, although definitely not simple. He perfectly captures the spirit of camp in a consistent and unavoidable manner.