This is , the humor does not cover up , it transforms ” ( Newton 49-50 ). This provides some space to interpret The Real Americans and Los Matadores with new eyes . Los Matadores could be interpreted as a form of camp that parodies not just Latino culture , but the ridiculousness of how Latinos are depicted in popular culture . Personally , I find Los Matadores to be ineffective at disrupting the logic of xenophobia because neither they themselves nor the commentators ever acknowledge the team ’ s adherence to negative Latino stereotypes or the effects that these stereotypes have on Latinos . However , on the other hand , The Real Americans are a parody that does seem to transform the dominant perception of undocumented immigrants . Through their use of humor , The Real Americans defamiliarize the legitimacy of nativism that subjugates Latinos .
This , however , is where audience viewership becomes so important , “[ p ] recisely because camp commits its ultimate act of creation so completely to the spectator , it makes no real difference whether it is deliberate or naive ... the spectator creates camp by observing from a camp attitude , one that questions the serious and the absurd . Camp is found in the final dialectic , in the observer ” ( Long 80 ). Just as Mazer emphasizes the role of the audience in creating the spectacle of professional wrestling , Long attributes the practice of social criticism in camp , as well , to the role of the spectator :
All energies in the camp object are directed toward bringing about such a moment in the consciousness that views it . More than almost any other aesthetic , camp thus turns continually outward . The camp moment is incomplete , it is not camp , without
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