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.

中文翻译：

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“上海在燃烧”：盛会，跨性别代表和跨国电影

本文对Matthew Baren的2018年电影Extravaganza进行了批判性分析，这是一部有关上海拖曳场景的纪录片。通过聚焦于本片中所代表的一些表演者，同时考察了电影的社会和行业背景，以及对电影制片人和表演者的采访，我对表演者的性别认同和民族身份产生了质疑。这个电影。我借鉴德勒兹和瓜塔里的“成为”概念以及宋慧琳对“反式”的讨论，我建议考虑批判性概念“成为反式”的跨国生产方式。“成为跨性别者”提供了一种有效的方法，可以将全球化世界中“较小”的跨国电影联系的新模式概念化，而不必诉诸于身份政治。