This oversight is particularly telling if we consider the way that Paris also became the occasion for a discussion among academic cultural critics of racial, sexual, and class identities of the film's performers—and of subjects of capitalist culture…
Understanding the documentary subjects’ (poor, urban, black and Latino drag queens) performances of bourgeois femininity as coded via standards of unmarked whiteness,
bell hooks, for instance, argued that the film exploited the ways in which…
Realness styling itself appears as the effect of a motivated regimen undertaken by specific identifiable agents, namely, the “voguers” who achieve “personality overhauls” by actively “constructing their identities”.