Through the example of Jenkins’ choices for Moonlight (2016), this chapter argues that pre-existing musical cues can link a film’s themes to other minority filmmaking traditions. The song at the center of this chapter, “Cucurrucucú Paloma,” exemplifies the kinds of cultural translations common in transnational queer cinema. It was originally a Me…[Read more]

Of the sixty-plus companies that comprised the collective WILD (Women’s Independent Label Distribution), Goldenrod Music is the only one that remains and still specializes in women’s music. The company’s survival is contingent upon its ability to adapt to changing lesbian communities; it must both meet the communities’ needs and maintain continu…[Read more]