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Both camp and grim and gritty, moreover, serve to displace such disdain by discovering new ways to invest cultural capital into a genre associated with crudeness and puerility. The ’60s Batman, after all, arrived amid the pop art movement that placed comic books front and center of its reassessments of commercial culture. For the Batman program to function as pop, it required familiarity with the superhero comic as a commercial cultural form, alongside an assumption of the intellectual and aesthetic poverty of that form. Campy Batman does not upend cultural hierarchies but rather reinforces them. The grim and gritty turn, meanwhile, performed the same function in a different cultural moment, re-presenting superhero narratives in an idiom shaped by a different set of cultural tastes. In the simplest terms, both approaches made superheroes palatable to non-comics readers attuned to (and anxious about) cultural hierarchies.
Even if comics aren't your thing, this essay is well worth a read. It's pretty insightful.