Untimely Desires, Historical Efflorescence, and Italy in Call Me by Your Name

Abstract

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Universality, Difference, and Spectrality in Call Me by Your Name

“…In contrast to Miller, Rosalind Galt and Karl Schoonover have written about the problematic demand for queer fi lms to show sex in a declarative fashion, suggesting that this demand risks privileging an imperialistic Western protocol that endorses visibility and publicness as normative expectations for queer cinema. 66 While I agree with Galt and Schoonover on this point, I remain sympathetic to Miller's polemical intervention because of the way it sheds light on a ghost haunting Call Me by Your Name: an unsettling material experience of homosexual male desire and identifi cation that disturbs the spectatorial protocol of liberal sympathy that the fi lm would seem to invite. This article does not uphold a call for explicit on-screen sex as an ideal yardstick for what queer cinema should be.…”

“…Emerging through the fi lm's formal mechanisms of framing, this "something beyond mere visibility" seems to ask us to confront the heterotopic forces of queer desire. 68 I would like to suggest that this "beyond" may also be something more troubling than the utopian potential of queer desire being discussed by Galt and Schoonover: namely, the eerie aff ect that disturbingly looms over the fi lm's romantic vision. Let us consider another important moment in the fi lm.…”

“…Pointing to these camera movements and to the fi lm's refusal to show us everything, Rosalind Galt and Karl Schoonover have argued that Call Me by Your Name invites its spectators to a "confrontation with the heterotopic and anti-reifying forces of queer desire, where queerness resists any stable mapping of bodies and identities." 28 Based on Galt and Schoonover's contention, one could argue that the fi lm's radical queerness may lie precisely in its ability to let spectators imagine something beyond visibility. Yet this something beyond may also be that thing that is never explicitly named in Call Me by Your Name (homosexuality), that thing that appears insistently treated in this fi lm as a form of alterity.…”

Gazing without risks. How to experience Italy, in the tourism industry interpretation of the film The Great Beauty

“…24 In recent times, Galt and Karl Schoonover have conveniently labelled the Ivory screen-written transnational production Call me by your name (Luca Guadagnino, 2018) a heritage film: it is set in the 1980s, generously displaying Italian natural and cultural heritage. 25 Slightly more surprisingly, The Great Beauty as well has been discussed in terms of heritage film.…”

Conflict Analysis in Luca Guadagnino's Call Me by Your Name

“…Peirce's semiotics and focuses on studying how the U.S. film industry represents gay phenomenon within teenagers in the middle of the society that sees it as a taboo (Effendi, 2022). An academic research paper interrogates "…the film's relationship to Italian-ness and its representation of homosexuality…[and concludes that the]… debate over Chiamami exposes a fraught intersection of Italian cinema and gay histories" (Galt & Schoonover, 2019). Another thesis focuses on the audience's response toward the issue of LGBT that the film offered, especially from the point of view of the LGBT and the parents.…”