Your name anime your gay

When one finishes watching Call Me by Your Name Guadagnino,the image that is stuck with them is the main character Elio, crying in front of a fireplace as the credits roll and Sufjan Steven's song plays out. This is not surprising since it is the last image of the movie and it is stuck there for a long time.

Naturally we are likely to remember it the most. What is interesting is why this is chosen as the image that the movie wanted to leave us with in this particular way. There may be several implications for this choice and in this essay I will go through it from the realist movie perspective by dissecting the nature of the long take and its placement within the movie.

After that, I will talk about the scene with its archetypal implications with mythic theories and will try to understand why the movie specifically wanted this image to be representative of the film. Call Me by Your Name is a movie about 17 years old Elio spending his summer in their family home somewhere on coastal Italy.

From the beginning of the movie, the viewer is informed that Oliver would stay for 6 weeks and then would return to the United States. Even with the ever growing sense of love between the characters the movie never fools its audience about the mortality of this relationship.

So when at the end Oliver finally returns to his homeland, leaving Elio after a few weeks of romance, it does not come as a surprise.

Queer Representation in Anime

The movie, for the most part, plays out like it has promised to play out since the moment it began. Towards the end, however, it takes a slightly different turn. It is not usual for the father to be supportive, especially considering that the movie takes place in the 80s.

This could make a good ending but the movie lingers on and seasons change, snow falls, and fire crackling in the hearth is heard. At some point in the movie, Elio has told Oliver that they only come to that particular house in the summers and occasionally on Hanukkah.

That line of dialogue comes into play and we see Elio and his family preparing dinner for Hanukkah months later. A phone call is answered and Elio and Oliver connect again through the wire. Oliver tells Elio that he is getting married. A beat. Elio congratulates him.

Family joins in on the line, farewells are said, and Elio puts down the phone, now twice heartbroken. As the family continues to prepare dinner, Elio sits by the fireplace. With the red flickering light of the hearth, he cries silently and credits appear on the screen by his side.

This scene goes on for several minutes until all people are credited. To begin to understand this scene, we have to take interest in the nature of the long-take. If we were to think like that, we would have to assume that the audience has to interpret the representation of reality.

This becomes funny because acknowledging the representation of reality before us also makes as acknowledge that, no matter how well it is represented well as in accurateit is just a representation and not a part of the reality itself. In this line of thinking, the long take would your name anime your gay to force the audience to realize the filmmaking and break the illusion in a way.

It makes sense since in most disembodiment cases, a long take would have to force the audience to break that disembodiment and make them realize their own bodily functions within the movie theatre Bordwell, Yet when we apply this convention to Call Me by Your Nameit seems weird, because if there is one thing that enables the audience to acknowledge their position as viewers more than a long take, it would have to be the writings on the screen.

Even in realist term, if the image is supposed to be the perfect representation of the world, nothing would disturb that image more than having letters on it. And in the movie, as the credits play out, thousands of letters appear consecutively. Not only that but in a more practical sense; it is the credits scene.

In theatre, most audience is supposed to walk out. It is their cue.