  In light of her appeal to citationality, Butler further clarifies that the subversive potential of gender performance is significantly constrained since, in order for gender performance to be subversive, it still must cite existing gender norms as norms (1993, 122–4, 226–7).  This means that gender subversion is limited by the history of past iterations of gender performance. Butler also allows that there are ways in which gender performance can both replicate and subvert sexist, racist, and heterosexist norms at once. For example, she aims to defend an ambivalent picture of the culture portrayed in Jennie Livington's 1991 film Paris is Burning which documents the drag ball competitions of various ‘houses’ in New York City, held by mostly black and latino/a queer men, transsexuals, and queens (1993, 121–140).