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Translatina world-making in The Salt Mines and Wildness
Laura Horak

some of the black and Latinx participants in New York’s ballroom scene at the centre of scholarly conversations about gender performativity, racialised queer subcultures, and new queer cinema in the 1990s. However, some complained that the film sensationalised the performances as a modern-​day freak show or minstrel show, and criticised the realist ethnographic style that absented the film’s director, Jennie Livingston, a white lesbian filmmaker, from the diegesis (e.g. hooks, 1996; Reid-​Pharr, 1990). In contrast, queer film scholar Lucas Hilderbrand argues that

in The power of vulnerability