Abstract
Call Me by Your Name (Luca Guadagnino, 2017) exemplifies a transnational
mode of filmmaking that aspires toward a universal form of legibility, one
that seems to dilute both historical and spatial specificity. This article interrogates
the relation between the present that Call Me by Your Name has been
called on to represent by some critics and the past from which the film would
seem to have moved away. At stake in discussing Call Me by Your Name as an
exemplary film about the present is the opportunity to question the value of
a progress narrative about queer film history.
mode of filmmaking that aspires toward a universal form of legibility, one
that seems to dilute both historical and spatial specificity. This article interrogates
the relation between the present that Call Me by Your Name has been
called on to represent by some critics and the past from which the film would
seem to have moved away. At stake in discussing Call Me by Your Name as an
exemplary film about the present is the opportunity to question the value of
a progress narrative about queer film history.
| Original language | English |
|---|---|
| Pages (from-to) | 57-79 |
| Number of pages | 23 |
| Journal | Journal of Cinema and Media Studies |
| Volume | 62 |
| Issue number | 4 |
| DOIs | |
| Publication status | Published - 2023 |