Here the postmodern phenomenon of "trying on" the Other loops back to the body as a site of construction and as site of corporeal determination. The body, in the final instance of "Paris Is Burning," literally determines life. The interdependence of dominance and resistance gathers around the nexus of female impersonation and determines the "containment" endings of both "Paris Is Burning" and a film like "Priscilla, Queen of the Desert." It is crucial to note what can happen when the resignifying body "takes on" the Other: the woman is killed off in one narrative, and demonized in the other. The performative aspects of female impersonation differ according to context: "taking on" an identity assumes life-threatening consequences for gay men in "Paris Is Burning," and jouissance for gay men in "Priscilla." Female impersonation is a complicated nexus of longing and disavowal, subordination and agency. The recent and noteworthy proliferation of "drag" films suggests the desire to "try on" performative and usually "queer" practices of cross-dressing and femininity, the desire to laugh and empathize with queer performativity, and the desire to fetishize and release homoerotic impulses. Marjorie Garber locates the discomforting element of drag in ambivalence: "The most extraordinary cultural work done by the transvestite in the context of American 'race relations' is to foreground the impossibility of taxonomy, the fatal imitation of classification as segregation, the inevitability of 'miscegenation' as misnomer" (274). Drag, then, foregrounds ambivalence in terms of taxonomy, suggesting that what you "take on" may sometimes "take you." The constitutive nature of drag never easily illustrates power relations. Homi Bhabha discusses the ambivalence of both racial and gender stereotyping: "Likewise the stereotype, which is [fixity's] major discursive strategy, is a form of know ledge and identification that vacillates between what is always 'in place,' already known, and something that must be anxiously repeated" (18). Power relations are contingent upon ambivalence: drag is thus an intricate site of resistance, power, and pleasure, or a site at which power is reconfigured, not just hegemonically reproduced. The more recent valorization of performativity as jouissance coupled with the growing popularity of drag which is rarely "taken to task" for its sexism renders "ambivalence" politically suspect. I see gay male identification with women, both positive and negative, which intersects with performative drag gestures, as a quintessential Sedgwickian configuration: each seeks to consolidate the male-male homoerotic bond, whether through hetero or homosexual coupling, by invisibilizing the female. What is "left out" emerges in curious places, either through the containment of the woman in a film like "Priscilla, Queen of the Desert," or through the daily appropriation of the "feminine" as a vehicle for a perceived biological woman's heteronormative power in "Paris is Burning." These two varieties of drag produce two different effects: through "specular cannibalism," one desires or devours the woman, and through "scopic bulimia," the other disavows her. Both are fundamentally the same: both absent the always already present biological woman.