Abstract
Abstract This article addresses a particular example of the intersection of literature and cinema in the film Call Me By Your Name, made by Luca Guadagnino and based on the novel of the same title by André Aciman, and the themes of nostalgia and loss in the work of both. The film results from the encounter, in its production and in a large number of retrospective discussions, between the cosmopolitan writer André Aciman and the Italian director Luca Guadagnino who, while attentive to global issues such as the trans-Mediterranean migration which features in the film, is very much grounded in his home region of northern Italy. The (rather differently figured) Jewish and homosexual identities of the two protagonists in the novel and the film are also addressed.
Highlights
Both world literature and world cinema have been defined descriptively and in more ambitious ways
This article addresses a particular example of the intersection of literature and cinema in the encounter, in the production of a film and a large number of retrospective discussions referred to below, between the cosmopolitan writer André Aciman and the Italian director Luca Guadagnino who, while attentive to global issues such as the transMediterranean migration which features in the film, is very much grounded in his home region of northern Italy
Forster’s novel Maurice, a novel about love between men which Forster wrote between 1913–4 and which was published posthumously in 1971.1 Call Me By Your Name is a story of sexual awakening, as Oliver, a young American philosopher working on a book on the pre-Socratics, comes to stay for the summer with a family whose holiday home is in the Italian countryside
Summary
Both world literature and world cinema have been defined descriptively and in more ambitious ways.
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