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About 1.2 million people in the U.S. have HIV, and in 2021 about 32,000 were newly infected. These numbers should be lower. Pre-Exposure Prophylaxis (PrEP) medication prevents HIV transmission and has been available since 2012. Yet, more than a decade later and despite Affordable Care Act (ACA)-mandated coverage for it, access to PrEP is inequitable, […]

Knowing the homophobic Russian state policy, members of the LGBTQ+ community tried to avoid the Russian occupiers, fearing they might face increased persecution because of their gender or sexuality.

Indian society is multicultural in nature, the diverse socio-cultural and the political factors operating within the society usually create some sort of norms, establish dominance, identify normality and simultaneously create the 'other'. The other is not a monolithic singular identity, rather it is multiple identities associated with caste, class, gender, religion, etc. The female gender is entangled to multiple layers of power/powerlessness that makes a group of women more vulnerable than the other. While some like sex workers face exclusion because of their disclosed identity, non-recognition of any particular identity can further exclude a group of people. This article analyses how identity formation is an out product of social, political and legal construction. It explains the process through which the state contributes towards social exclusion pertaining to gender, work and sexuality.

© The Author(s) 2018. This article offers a critical analysis of Matthew Baren's 2018 film Extravaganza, a documentary about drag scenes in Shanghai. By focusing on some drag performers represented in this film, in tandem with an examination of the social and industry contexts of the film, as well as my interviews with the filmmaker and performers, I problematise the gender identity of the performers and the national identity of the film. Drawing on Deleuze and Guattari's notion of 'becoming' and Song Hwee Lim's discussion of 'trans', I propose to think about certain modes of transnational production with the critical concept of 'becoming trans'. 'Becoming trans' offers a productive way of conceptualising new modes of 'minor' transnational cinematic connections in a globalised world without having to resort to identity politics.

This article offers a critical analysis of Matthew Baren's 2018 film Extravaganza, a documentary about drag scenes in Shanghai. By focusing on some drag characters represented in this film, in tandem with an examination of the social and industry contexts of the film, as well as my interviews with the filmmaker and performers, I problematise the gender identity of the performers and the national identity of the film. Drawing on Deleuze and Guattari's notion of 'becoming' and Song Hwee Lim's discussion of 'trans', I propose to think about certain modes of transnational production with the critical concept of 'becoming trans'. 'Becoming trans' offers a productive way to conceptualise new modes of 'minor' transnational cinematic connections in a globalised world without having to resort to identity politics.