Edward Lamberti is the author of Performing Ethics through Film Style: Levinas with the Dardenne Brothers, Barbet Schroeder and Paul Schrader (Edinburgh University Press, 2019) and the editor of Behind the Scenes at the BBFC: Film Classification from the Silver Screen to the Digital Age (BFI/Palgrave, 2012; longlisted for the 2013 Kraszna-Krausz Book Award for Best Moving Image Book). He has a Ph.D. in Film Studies Research from King’s College London and he works at the BBFC.Michael Williams is Professor in Film at the University of Southampton. He is author of Film Stardom and the Ancient Past: Idols, Artefacts and Epics (Palgrave Macmillan, 2018) and Film Stardom, Myth and Classicism: The Rise of the Hollywood Gods (2013). He has widely published on stardom and with a particular focus on queer imagery and reception, and is also author of Ivor Novello: Screen Idol (BFI, 2003) and co-editor of British Silent Cinema and the Great War (Palgrave Macmillan, 2011).

• List of FiguresList of TablesAcknowledgementsIntroduction: Somewhere in Northern Italy – Edward Lamberti and Michael Williams Part I: StyleTemporary Paradise: Queer Space, Time and Pastoral Visions in Call Me by Your Name – Adam Vaughan‘But You Know, There Have Been Queer Characters from the Very First Film’: Call Me by Your Name and the Long Shadow of James Ivory – Claire Monk‘Is It Better to Speak or Die?’: Adaptation and Elio’s Interiority – Stuart RichardsMusic as Narrator in Call Me by Your Name – Kingsley MarshallSex Sounds: On Aural Explicitness in Call Me by Your Name – Sarah ArttCall Me by Your Name and the Ethics of Distance – Edward LambertiPart II: ThemesCall Me by Your Name, Chrononormativity and the (Queer?) Future of Italian Teen Film – Daniel PaulPlato to Elio: Ancient and Modern Sexualities in Call Me by Your Name – Nikolai Endres‘Daring You to Desire Them’: Digital Classicism, Star Bodies and Call Me by Your Name – Michael WilliamsCall Me Bi Any Other Name: Anal Monstration, Formal Bisexualization, Gay Indigestion – Jacob EngelbergPart III: ReceptionCall Me by Your Name and Film Festivals – Ruby CheungTell Tim Chalamet to Tweet at Me: Timothée Chalamet’s Social Media Silence, Presence and Performed (B)romance with Armie Hammer – Francesca SobandeThe Sexiest Risk-Taker? Armie Hammer, White Masculinity and Call Me by Your Name – Jonathan A. Cannon‘Finally, a Gay Movie without a Bad Vibe’: Queer Nostalgia, Affection and Gender Identity in Call Me by Your Name – Vinicius Ferreira, Victor Schlude and Gêsa CavalcantiNotes on ContributorsIndex

Edward Lamberti is the author of Performing Ethics through Film Style: Levinas with the Dardenne Brothers, Barbet Schroeder and Paul Schrader (Edinburgh University Press, 2019) and the editor of Behind the Scenes at the BBFC: Film Classification from the Silver Screen to the Digital Age (BFI/Palgrave, 2012; longlisted for the 2013 Kraszna-Krausz Book Award for Best Moving Image Book). He has a Ph.D. in Film Studies Research from King’s College London and he works at the BBFC.Michael Williams is Professor in Film at the University of Southampton. He is author of Film Stardom and the Ancient Past: Idols, Artefacts and Epics (Palgrave Macmillan, 2018) and Film Stardom, Myth and Classicism: The Rise of the Hollywood Gods (2013). He has widely published on stardom and with a particular focus on queer imagery and reception, and is also author of Ivor Novello: Screen Idol (BFI, 2003) and co-editor of British Silent Cinema and the Great War (Palgrave Macmillan, 2011).

• List of FiguresList of TablesAcknowledgementsIntroduction: Somewhere in Northern Italy – Edward Lamberti and Michael Williams Part I: StyleTemporary Paradise: Queer Space, Time and Pastoral Visions in Call Me by Your Name – Adam Vaughan‘But You Know, There Have Been Queer Characters from the Very First Film’: Call Me by Your Name and the Long Shadow of James Ivory – Claire Monk‘Is It Better to Speak or Die?’: Adaptation and Elio’s Interiority – Stuart RichardsMusic as Narrator in Call Me by Your Name – Kingsley MarshallSex Sounds: On Aural Explicitness in Call Me by Your Name – Sarah ArttCall Me by Your Name and the Ethics of Distance – Edward LambertiPart II: ThemesCall Me by Your Name, Chrononormativity and the (Queer?) Future of Italian Teen Film – Daniel PaulPlato to Elio: Ancient and Modern Sexualities in Call Me by Your Name – Nikolai Endres‘Daring You to Desire Them’: Digital Classicism, Star Bodies and Call Me by Your Name – Michael WilliamsCall Me Bi Any Other Name: Anal Monstration, Formal Bisexualization, Gay Indigestion – Jacob EngelbergPart III: ReceptionCall Me by Your Name and Film Festivals – Ruby CheungTell Tim Chalamet to Tweet at Me: Timothée Chalamet’s Social Media Silence, Presence and Performed (B)romance with Armie Hammer – Francesca SobandeThe Sexiest Risk-Taker? Armie Hammer, White Masculinity and Call Me by Your Name – Jonathan A. Cannon‘Finally, a Gay Movie without a Bad Vibe’: Queer Nostalgia, Affection and Gender Identity in Call Me by Your Name – Vinicius Ferreira, Victor Schlude and Gêsa CavalcantiNotes on ContributorsIndex

Edward Lamberti is the author of Performing Ethics through Film Style: Levinas with the Dardenne Brothers, Barbet Schroeder and Paul Schrader (Edinburgh University Press, 2019) and the editor of Behind the Scenes at the BBFC: Film Classification from the Silver Screen to the Digital Age (BFI/Palgrave, 2012; longlisted for the 2013 Kraszna-Krausz Book Award for Best Moving Image Book). He has a Ph.D. in Film Studies Research from King’s College London and he works at the BBFC.Michael Williams is Professor in Film at the University of Southampton. He is author of Film Stardom and the Ancient Past: Idols, Artefacts and Epics (Palgrave Macmillan, 2018) and Film Stardom, Myth and Classicism: The Rise of the Hollywood Gods (2013). He has widely published on stardom and with a particular focus on queer imagery and reception, and is also author of Ivor Novello: Screen Idol (BFI, 2003) and co-editor of British Silent Cinema and the Great War (Palgrave Macmillan, 2011).

• List of FiguresList of TablesAcknowledgementsIntroduction: Somewhere in Northern Italy – Edward Lamberti and Michael Williams Part I: StyleTemporary Paradise: Queer Space, Time and Pastoral Visions in Call Me by Your Name – Adam Vaughan‘But You Know, There Have Been Queer Characters from the Very First Film’: Call Me by Your Name and the Long Shadow of James Ivory – Claire Monk‘Is It Better to Speak or Die?’: Adaptation and Elio’s Interiority – Stuart RichardsMusic as Narrator in Call Me by Your Name – Kingsley MarshallSex Sounds: On Aural Explicitness in Call Me by Your Name – Sarah ArttCall Me by Your Name and the Ethics of Distance – Edward LambertiPart II: ThemesCall Me by Your Name, Chrononormativity and the (Queer?) Future of Italian Teen Film – Daniel PaulPlato to Elio: Ancient and Modern Sexualities in Call Me by Your Name – Nikolai Endres‘Daring You to Desire Them’: Digital Classicism, Star Bodies and Call Me by Your Name – Michael WilliamsCall Me Bi Any Other Name: Anal Monstration, Formal Bisexualization, Gay Indigestion – Jacob EngelbergPart III: ReceptionCall Me by Your Name and Film Festivals – Ruby CheungTell Tim Chalamet to Tweet at Me: Timothée Chalamet’s Social Media Silence, Presence and Performed (B)romance with Armie Hammer – Francesca SobandeThe Sexiest Risk-Taker? Armie Hammer, White Masculinity and Call Me by Your Name – Jonathan A. Cannon‘Finally, a Gay Movie without a Bad Vibe’: Queer Nostalgia, Affection and Gender Identity in Call Me by Your Name – Vinicius Ferreira, Victor Schlude and Gêsa CavalcantiNotes on ContributorsIndex