Teenage “Somatechnics”: Classed, Gendered, and Racialised Subjectivities in Luca Guadagnino’s Call Me by Your Name and Gianfranco Rosi’s Fuocoammare1

Research output: Contribution to journalArticleResearchpeer-review

Abstract

In this paper I examine presences-absences and dis-allowed mobilities in neoliberal Italy through a comparative reading of two apparently unrelated films: Luca Guadagnino’s Call Me by Your Name (2018) and Gianfranco Rosi’s Fuocoammare (Fire At Sea, 2016). My comparative approach is informed by new materialist feminist critiques, drawing primarily from queer feminist, post-colonial, and de-colonial thinkers whose work aims to dismantle the naturalization of differences to make new worlds and unmake existing ones. I will address the (pre)determined narratives of class, gender, sexuality, and race, which are articulated in both works, and relate them to neo-imperialist practices at home and abroad. The paper focuses on the cinematic representations of (im)mobile futures for the two films’ protagonists – Elio (in Call Me by Your Name) and Samuele (in Fuocoammare) – to address the neoliberal government policies and biopolitical practices of tourism and enforced migration that (re)make Italy today.
Original languageEnglish
Pages (from-to)104-123
Number of pages20
Journalgender/sexuality/italy (g/s/i)
Volume6
Issue number6
Publication statusPublished - 2019

Keywords

  • Guadagnino
  • neo-colonialism
  • neo-imperialism
  • queer
  • Rosi
  • somatechnics

Cite this

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title = "Teenage “Somatechnics”: Classed, Gendered, and Racialised Subjectivities in Luca Guadagnino’s Call Me by Your Name and Gianfranco Rosi’s Fuocoammare1",
abstract = "In this paper I examine presences-absences and dis-allowed mobilities in neoliberal Italy through a comparative reading of two apparently unrelated films: Luca Guadagnino’s Call Me by Your Name (2018) and Gianfranco Rosi’s Fuocoammare (Fire At Sea, 2016). My comparative approach is informed by new materialist feminist critiques, drawing primarily from queer feminist, post-colonial, and de-colonial thinkers whose work aims to dismantle the naturalization of differences to make new worlds and unmake existing ones. I will address the (pre)determined narratives of class, gender, sexuality, and race, which are articulated in both works, and relate them to neo-imperialist practices at home and abroad. The paper focuses on the cinematic representations of (im)mobile futures for the two films’ protagonists – Elio (in Call Me by Your Name) and Samuele (in Fuocoammare) – to address the neoliberal government policies and biopolitical practices of tourism and enforced migration that (re)make Italy today.",
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AB - In this paper I examine presences-absences and dis-allowed mobilities in neoliberal Italy through a comparative reading of two apparently unrelated films: Luca Guadagnino’s Call Me by Your Name (2018) and Gianfranco Rosi’s Fuocoammare (Fire At Sea, 2016). My comparative approach is informed by new materialist feminist critiques, drawing primarily from queer feminist, post-colonial, and de-colonial thinkers whose work aims to dismantle the naturalization of differences to make new worlds and unmake existing ones. I will address the (pre)determined narratives of class, gender, sexuality, and race, which are articulated in both works, and relate them to neo-imperialist practices at home and abroad. The paper focuses on the cinematic representations of (im)mobile futures for the two films’ protagonists – Elio (in Call Me by Your Name) and Samuele (in Fuocoammare) – to address the neoliberal government policies and biopolitical practices of tourism and enforced migration that (re)make Italy today.

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