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1. A Drag Primer: Situating RuPaul’s Drag Race
Within Academic Drag Studies
By Dr. Carl Schottmiller, schottmiller@gmail.com
Presented at PCA Conference, Indianapolis, IN, Thursday, March 29th
, 2018
Since premiering on February 2, 2009, the RuPaul’s Drag Race reality television
franchise has become a queer cultural phenomenon that successfully commodifies and markets
drag performance to television audiences at heretofore unprecedented levels. The series has
provided over 100 drag queen artists with a platform to showcase their talents, and the Drag
Race franchise has expanded to include multiple television spin-offs, internationally touring drag
shows, and interactive live events. Because of this success, the franchise creates a heretofore
unprecedented level of public visibility and marketability for certain forms of drag.

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Unsurprisingly, the Drag Race phenomenon has also generated a large interest among
scholars. While an abundance of peer-reviewed scholarship on drag exists, the literature specific
to RuPaul’s Drag Race is relatively small and still emerging. As of this writing, the body of peer
reviewed published scholarship currently available in English (that I have been able to identify)
includes 52 total works: 2 published anthologies on RuPaul’s Drag Race (that contain a
combined total of 28 chapters), 4 chapters on Drag Race featured in non-Drag Race specific
anthologies, 15 articles, 4 Theses, and 1 dissertation. Having studied this literature, I want to
conduct a discourse analysis of what I call “Drag Race Studies.” This field is both incredibly

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interdisciplinary, featuring scholars from Media Studies, Gender/Queer/LGBT Studies, Critical
Race Studies, and many more, and incredibly intersectional.
While this emerging discourse can push drag studies into new directions, scholars
analyzing RuPaul’s Drag Race should also position their projects within the larger history of
academic drag scholarship. This history (and the debates within) provide invaluable resources for
considering the social, cultural, and political implications of how we study and theorize drag.
With this presentation, I start to organize a “Drag Primer” that I will develop into an
expanded article. My goal in creating this Primer is to connect Drag Race Studies to the larger
history of academic drag studies in order to reflect on three key areas: What works we cite, What
research methods we use, and How we account for our scholarly positionalities. For this
presentation, I am going to focus on the first point—the politics of our Bibliographies—but I am
happy to discuss the other two areas in more depth later. One of my goals is to provide Drag
Race scholars with a bibliographic resource for Camp studies. My hope is to create a growing
Camp scholarship Works Cited page that can be a useful resource for scholars interested not only
in RuPaul’s Drag Race specifically but drag and Camp scholarship more generally. While I have

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tried to bring together all the available published scholarship on Camp, I am asking interested
readers to add/revise this list by emailing me additional scholarly resources. Any submissions
sent to schottmiller@gmail.com will be rightly acknowledged, giving due credit to those who
send me resources.
This literature can be organized into four key areas of inquiry. One area provides in-depth
analyses of the reality television show episodes in terms of intertextual referencing. A second
area studies the show primarily through linguistic analysis, in order to understand how
contestants use language to construct shared identities and/or to challenge dominant norms. A
third area investigates Drag Race’s relationship to larger systems of consumerism, neoliberalism,
and capitalism. By far the largest area of study investigates the show in terms of issues of
representation—a focus that makes complete sense given how the series showcases the lives and
cultures of gay, queer, and trans people, whose perspectives and experiences are often not
featured on mainstream television. While these four areas create a brilliant discourse, I want to
consider the political implications of whose voices are included therein. I want to stress to Drag
Race scholars that the Bibliography or Works Cited page is a political document that states

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whose voices/theories/perspectives we value. Creating a strong Bibliography requires extensive
research—one needs to consider what theories provide the best analytical frameworks and what
histories must be acknowledged in order to contextualize the project. I analyzed the
Bibliographies of the 52 Drag Race publications and tracked the frequency of citations.
Unsurprisingly, Judith Butler was the most cited scholar, with 28 total citations—just
over half of the total publications. This frequency tells us that Judith Butler is important to drag
studies. Her theory of gender performativity is significant within the larger history of drag
studies and provides an invaluable theoretical lens for discussing Drag Race. While one, in
theory, does not need to cite Butler to study Drag Race, the citation is a political act that
acknowledges Butler’s contribution to the field and reveals that the author knows this important
history.

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We can observe as well how intersectional feminist theories are significant within Drag
Race Studies. The frequency of these citations indicates that Drag Race Studies is an
intersectional discourse that values analyses that discuss sexuality in conversation with race,
gender, nationality, ethnicity, and other identity categories.
Scholars are also citing frequently from LGBT and Queer Studies. Interestingly, while
these highlighted authors all theorize and discuss Camp, Drag Race scholars largely ignore the

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significant role that Camp plays in this franchise. While many scholars use the word Camp or
mention the concept in passing, so far only 7 works out of 52 discuss Camp extensively. This
limited engagement with Camp scholarship troubles me because Camp is one of the integral
operating logics of RuPaul’s Drag Race. Indeed, Camp infuses every aspect of this show and
permeates the growing live economy. To understand a show that was created by gay men and
features predominantly gay men of different gender identities and transwomen, scholars need an
understanding of how Camp historically operates as a distinctly queer practice. In my own work,
I analyze how Drag Race uses Camp referencing as an intertextual practice to confer queer
cultural status and capital, and how RuPaul and World of Wonder build and expand the Drag
Race empire through what I call Camp Capitalism. I am happy to discuss these ideas in more
detail later.
I want to be clear here in saying that I am not suggesting that scholars who do not engage
with Camp cannot accurately write about RuPaul’s Drag Race. I am suggesting that a more
thorough engagement with Camp could expand and nuance the discourse with both Drag Race
and Camp Studies. How might Pamela Robertson’s notion of feminist Camp challenge how
feminist scholars interpret the role of humor and its relationship to misogyny on Drag Race?
How could considerations of black Camp and Latina/o Camp as disidentificatory practices
challenge readings of Drag Race as stereotypical and therefore normative and offensive?
Interestingly, scholars who study Drag Race through Camp specifically or Jose Munoz’s theory
of disidentification more generally tend to have more complex readings of the show. These
scholars discuss how Drag Race is both subversive and normative simultaneously, which allows
them to conduct a larger conversation about the franchise’s politics for different audiences.
Additionally, Drag Race scholars who engage with Camp could expand the discourse on Camp

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in new and interesting ways. One of the historical critiques of Camp scholarship has been that
the discourse is predominantly white, upper class, cisgender, and gay male focused. Drag Race
Studies in its foundation is incredibly intersectional, and this commitment to intersectional
politics could also expand the discourse on Camp in fruitful ways. For our conversation today, I
want to put these ideas and suggestions forward to consider how we can grow the discourse on
RuPaul’s Drag Race by connecting it to a larger history of scholarship within Queer and LGBT
Studies.

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A Drag Primer: Situating RuPaul’s Drag Race
Within Academic Drag Studies
By Carl Schottmiller, schottmiller@gmail.com
Abstract:
Since premiering on February 2, 2009, the RuPaul’s Drag Race television franchise has
become a queer cultural phenomenon that successfully commodifies and markets drag
performance to television audiences at heretofore unprecedented levels. While an abundance
of peer-reviewed scholarship on drag exists, the literature specific to RuPaul’s Drag Race is
relatively small and still emerging. As of this writing, the body of scholarship currently available
in English includes: two published anthologies (Daems 2014, Brennan and Gudelunas 2017),
four Theses (Hernandez 2014, Herold 2012, Metzger 2016, Tucker Jenkins 2013), three chapters
in non-Drag Race specific anthologies (Perez 2017, Rodriguez y Gibson 2014, Schottmiller
2017), and fifteen articles (Collins 2017, de Villiers 2012, Edgar 2011, Gamson 2013, Goldmark
2015, González and Cavazos 2016, Gudelunas 2016, Hall-Araujo 2016, Hargraves 2011, Hicks
2013, Moore 2013, Simmons 2014, Strings and Bui 2014, Vesey 2016, Zhang 2016).
The growing field of “Drag Race Studies” heralds exciting possibilities for understanding
the cultural production and consumption of drag in the 21st
century. While this emerging
discourse can push drag studies into new directions, scholars analyzing RuPaul’s Drag Race
should also position their projects within the larger history of Camp scholarship. This history
(and the debates within) provide invaluable resources for scholars to consider the social,
cultural, and political implications of how we study and theorize drag. With my presentation, I
start to organize a primer that will develop into an expanded article. In so doing, I put together
a ”Camp Scholarship” Works Cited page that provides RuPaul’s Drag Race scholars with a list of
available literature on Camp. While I have tried to bring together all the available published
scholarship on Camp, I am asking interested readers to add/revise this list by emailing me
additional scholarly resources. Any submissions sent to schottmiller@gmail.com will be rightly
acknowledged, giving due credit to those who send me resources. My hope is to create a
growing Camp scholarship Works Cited page that can be a useful resource for scholars
interested not only in RuPaul’s Drag Race specifically but drag and Camp scholarship more
generally.

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RuPaul’s Drag Race Scholarship
2017
• Brennan, Niall and David Gudelunas, eds. RuPaul’s Drag Race and the Shifting Visibility of
Drag Culture: The Boundaries of Reality TV. New York: Palgrave Macmillan, 2017.
o Alexander, Claire. “What Can Drag Do For Me? The Multifaceted Influences of RuPaul’s Drag
Race on the Perth Drag Scene,” 245-270.
o Ali de la Garza Villarreal, Nazar, Carolina Valdez García and Grecia Karina Rodríguez
Fernández. “Reception of Queer Content and Stereotypes Among Young People in Monterrey,
Mexico: RuPaul’s Drag Race,” 179-196.
o Antonia Ferrante, Anna. “Super Troopers: The Homonormative Regime of Visibility in RuPaul’s
Drag Race,” 153-166.
o Brennan, Niall. “Contradictions Between the Subversive and the Mainstream: Drag Cultures and
RuPaul’s Drag Race,” 29-44.
o Brennan, Niall and David Gudelunas. “Drag Culture, Global Participation and RuPaul’s Drag
Race,” 1-14.
o Brusselaers, Dieter. “‘Pick up a book and go read’: Art and Legitimacy in RuPaul’s Drag Race,”
45-60.
o Castellano, Mayka and Heitor Leal Machado. “‘Please Come to Brazil!’ The Practices of RuPaul’s
Drag Race’s Brazilian Fandom,” 167-178.
o Chronaki, Despina. “Mainstreaming the Transgressive: Greek Audiences’ Readings of Drag
Culture Through the Consumption of RuPaul’s Drag Race,” 197-212.
o Daggett, Chelsea. “‘If You Can’t Love Yourself, How in the Hell You Gonna Love Somebody
Else?’ Drag TV and Self-Love Discourse,” 271-286.
o Darnell, Amy L. and Ahoo Tabatabai. “The Werk That Remains: Drag and the Mining of the
Idealized Female Form,” 91-102.
o Gudelunas, David. “Digital Extensions, Experiential Extensions and Hair Extensions: RuPaul’s
Drag Race and the New Media Environment,” 231-244.
o Henn, Ronaldo, Felipe Viero Kolinski Machado, and Christian Gonzatti. “‘We’re Born Naked and
the Rest is Drag’: The Performativity of Bodies Constructed in Digital Networks,” 287-304.
o McIntyre, Joanna and Damien W. Riggs. “North American Universalism in RuPaul’s Drag Race:
Stereotypes, Linguicism, and the Construction of ‘Puerto Rican Queens,’” 61-76.
o O’Halloran, Kate. “RuPaul’s Drag Race and the Reconceptualisation of Queer Communities and
Publics,” 213-230.
o Pomerantz, Ami. “Big-Girls Don’t Cry: Portrayals of the Fat Boy in RuPaul’s Drag Race,” 103-
122.
o Rosiello, Rob. “‘I am the Drag Whisperer’: Notes from the Front Line of a Cultural Phenomenon,”
123-136.
o Tucker Jenkins, Sarah. “Spicy. Exotic. Creature. Representations of Racial and Ethnic Minorities
on RuPaul’s Drag Race,” 77-90.
o Whitworth, Colin. “Sissy That Performance Script! The Queer Pedagogy of RuPaul’s Drag Race,”
137-152.
o Yudelman, Julia. “The ‘RuPaulitics’ of Subjectification in RuPaul’s Drag Race,” 15-28.
• Collins, Cory G. “Drag Race to the Bottom? Updated Notes on the Aesthetic and Political
Economy of RuPaul’s Drag Race.” Transgender Studies Quarterly 4, no. 1 (2017): 128-134.
• Perez, Michael V. “Pretty Is Note Enough: Notes for a Grotesque Camp” In Sontag and the Camp
Aesthetic: Advancing New Perspectives, edited by Bruce E. Drushel and Brian M. Peters, 223-
242. Lanham: Lexington Books, 2017.
• Schottmiller, Carl. “‘Excuse My Beauty!’: Camp Referencing and Memory Activation on
RuPaul’s Drag Race.” In Sontag and the Camp Aesthetic: Advancing New Perspectives, edited
by Bruce E. Drushel and Brian M. Peters, 111-130. Lanham: Lexington Books, 2017.
• Schottmiller, Carl. Reading RuPaul’s Drag Race: Camp Capitalism, Queer Memory, and
RuPaul’s Drag Empire, PhD diss., University of California, Los Angeles, 2017.

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2016
• González, Jorge C. and Kameron C. Cavazos. “Serving fishy realness: representations of gender
equity on RuPaul’s Drag Race.” Continuum: Journal of Media & Cultural Studies 30, no. 6
(2016): 659-669.
• Gudelunas, David. “Culture jamming (and tucking): RuPaul’s Drag Race and unconventional
reality.” Queer Studies in Media & Popular Culture 1, no. 2 (2016): 231-249.
• Hall-Araujo, Lori. “Ambivalence and the ‘American Dream’ on RuPaul’s Drag Race.” Film,
Fashion & Consumption 5, no.2 (2016): 233-41.
• Metzger, Megan M. “That’s Ru-volting! How reality TV reimagines perceptions of American
success.” College of Liberal Arts & Social Sciences Theses and Dissertations., DePaul
University, 2016.
• Vesey, Alyxandra. “‘A Way to Sell Your Records’: Pop Stardom and the Politics of Drag
Professionalization on RuPaul’s Drag Race.” Television & New Media (December 2016): 1-16.
• Zhang, Eric. “Memoirs of a GAY! Sha: Race and gender performance on RuPaul’s Drag Race.”
Studies in Costume & Performance 1, no. 1 (2016): 59-75.
2015
• Goldmark, Matthew. “National Drag: The Language of Inclusion in RuPaul’s Drag Race.” GLQ:
A Journal of Lesbian and Gay Studies 21, no. 4 (October 2015): 501-520.
• LeMaster, Benny. “Discontents of Being and Becoming Fabulous on RuPaul’s Drag U: Queer
Criticism in Neoliberal Times.” Women’s Studies in Communication, January 14, 2015.
2014
• Daems, Jim, ed. The Makeup of RuPaul’s Drag Race: Essays on the Queen of Reality Shows.
Jefferson: McFarland, 2014.
o Anthony, Libby. “Dragging with an Accent: Linguistic Stereotypes, Language Barriers and
Translingualism,” 49-66.
o Chernoff, Carolyn. “‘Of Women and Queens: Gendered Realities and Re-Education in RuPaul’s
Drag Empire,” 148-167.
o Fine, David J. and Emily Shreve. “‘The Prime of Miss RuPaul Charles: Allusion, Betrayal, and
Charismatic Pedagogy,” 168-188.
o Kohlsdorf, Kai. “Policing the Proper Queer Subject: RuPaul’s Drag Race in the Neoliberal ‘Post’
Moment,” 67-87.
o Marcel, Mary. “Representing Gender, Race, and Realness: The Television World of America’s
Next Drag Superstars,” 13-30.
o Mayora, R. Gabriel. “Cover, Girl: Branding Puerto Rican Drag in the 21st
-Century U.S. Popular
Culture,”106-123.
o Morrison, Josh. “‘Draguating’ to Normal: Camp and Homonormative Politics,” 124-147.
o Norris, Laurie. “Of Fish and Feminists: Homonormative Misogyny and the Trans*Queen,” 31-48.
o Pagnoni Berns, Fernando Gabriel. “‘For your next drag challenge,’ You Must Do Something:
Playfulness Without Rules,” 88-105.
• Hernandez, John. “Giving Face, Shade, and Realness: A Queer Analysis of Gender Performance
and Sexuality in RuPaul’s Drag Race.” Master’s Thesis., University of Hartford, 2014.
• Rodriguez y Gibson, Eliza. “Drag Racing the Neoliberal Circuit: Latina/o Camp and the
Contingencies of Resistance.” In The Un/Making of Latina/o Citizenship: Culture, Politics, and
Aesthetics, edited by Ellie D. Hernández and Eliza Rodriguez y Gibson, 39-62. New York:
Palgrave MacMillan, 2014.
• Simmons, Nathaniel. “Speaking Like a Queen in RuPaul’s Drag Race: Towards a Speech Code of
American Drag Queens.” Sexuality and Culture 18, no. 3 (2014): 630-648.
• Strings, Sabrina and Long T. Bui. “‘She is not acting, she is’: The conflict between gender and
racial realness on RuPaul’s Drag Race.” Feminist Media Studies 14, no. 5 (2014): 822-836.

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2013
• Gamson, Joshua. “Reality Queens.” Contexts 12, no. 2 (Spring 2013): 52-54.
• Hicks, Jessica. “ ‘Can I Get An Amen’?: Marginalized Communities and Self-love on RuPaul’s
Drag Race.” In Queer Love in Film and Television, edited by Pamela Demorey and Christopher
Pullen, 153-160. New York: Palgrave Macmillan, 2013.
• Moore, Ramey. “Everything Else is Drag: Linguistic Drag and Gender Parody on RuPaul’s Drag
Race.” Journal of Research in Gender Studies 3, no. 2 (2013): 15-26.
• Tucker Jenkins, Sarah. “Hegemonic ‘Realness’? An Intersectional Feminist Analysis of RuPaul’s
Drag Race.” Master’s Thesis., Florida Atlantic University, 2013.
2012
• de Villiers, Nicholas. “RuPaul’s Drag Race as meta-reality television.” Jump Cut: A Review of
Contemporary Media 54 (Fall 2012): unpaginated.
• Hargraves, Hunter. “‘You better Work’: The Commodification of HIV in RuPaul’s Drag Race.”
Spectator 31, no. 2 (Fall 2011): 24-34.
• Herold, Lauren. “RuPaul’s Drag Race is Burning: Performances of Femininity and Neoliberalism
in ‘Post-Racial’ America.” Senior Thesis., Columbia University, 2012.
2011
• Edgar, Eir-Anne. “‘Xtravaganza!’: Drag Representation and Articulation in ‘RuPaul’s Drag
Race’.” Studies in Popular Culture 34, no. 1 (Fall 2011): 133-146.

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Camp Scholarship
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Bartlett, Neil. “Forgery.” In Camp: Queer Aesthetics and the Performing Subject, edited by Fabio Cleto,
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Beaver, Harold. “‘Homosexual Signs (In Memory of Roland Barthes).” In Camp: Queer Aesthetics and
the Performing Subject, edited by Fabio Cleto, 160-178. Ann Arbor: The University of Michigan
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Benshoff, Harry M. “Movies and Camp.” In American Cinema of the 1960s: Themes and Variations,
edited by Barry Keith Grant. New Brunswick: Rutgers UP, 2008. 150–171.
Bergman, David, ed. Camp Grounds: Style and Homosexuality. Amherst: University of Massachusetts
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Bergman, David. “Strategic Camp: The Art of Gay Rhetoric.” In Camp Grounds: Style and
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Bérubé, Allan. Coming Out Under Fire: The History of Gay Men and Women in World War II. 20th
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Bishop-Sanchez, Kathryn. Creating Carmen Miranda: Race, Camp, and Transnational Stardom.
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Booth, Mark. Camp. New York: Quartet Books, 1983.
Bredbeck, Gregory. “Narcissus in the Wilde: Textual cathexis and the historical origins of queer Camp.”
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Cohan, Steven. Incongruous Entertainment: Camp, Cultural Value, and the MGM Musical. Durham:
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