The 2018 song ‘Okra’ by Tyler, the Creator features lyrics which include a nod to ‘Tim’ Chalamet who is beckoned ‘to get at me’. Inspired by this lyric, this chapter's title is a play on it to capture public demand for Chalamet's tweets and social media posts which are notoriously sporadic, and, sometimes, even cryptic. Analysis of Chalamet's social media presence, dynamic with Armie Hammer, and press framing of such activity aids a nuanced understanding of how Chalamet's stardom, self-depiction and perceived (b)romance with Hammer shapes the iconic nature of Call Me by Your Name and the film's connection to conversations concerning gender, sexuality, and class. Drawing on York's research regarding ‘reluctant celebrity’, in addition to other celebrity, screen, and digital studies, this chapter explores how Chalamet's social media presence is entangled with Call Me by Your Name marketing and commentaries, such as discourse regarding how Chalamet depicts and embodies particular (white) masculinities and perceived sexualities.

For a number of gay critics, one of Call Me by Your Name's most troubling features was its purportedly explicit depiction of sex between men and women, and its alleged concealment of sex between men. For D. A. Miller among others, this phenomenon is symptomatic of a closeting of homosex and an appeal to the sensibilities of a heterosexual audience. These critics, however, miss the bisexual character of the film's engagement with Elio and Oliver's desires, which cannot be discerned by the monosexual hermeneutic to which they are wedded. We can also observe these critics' valuing of anal sex as queer sex par excellence, and their critical frustration around polysemous significations. I conclude that such approaches limit queer film studies' scope, and that attention to queer yet nongay cinematic spaces — like those of Call Me by Your Name — widen the scope of what queer film might be.

This chapter explores how Call Me by Your Name (Luca Guadagnino, 2017) locates the characters of Elio (Timothée Chalamet) and Oliver (Armie Hammer) within a long history of queer classical reception, and in particular the way the film, and its active fanbase, brings ancient sculptural imagery and classical myth into dialogue with the digital present. The chapter begins by exploring the ways in which ancient Greek and Roman sculpture is used to frame the characters and narrative within the film itself, before moving on to examine how this iconography was so strikingly conducive to appropriation in critical responses, social media and in fan art, including through alignment to the aesthetics of YouTube coming out videos.

There is now no shortage of media for us to consume, from streaming services and video-on-demand to social media and everything else besides. This has changed the way media scholars think about the production and reception of media. Missing from these conversations, though, is the maker: in particular, the maker who has the power to produce media in their pocket.



How might one craft a personal media-making practice that is thoughtful and considerate of the tools and materials at one's disposal? This is the core question of this original new book. Exploring a number of media-making tools and processes like drones and vlogging, as well as thinking through time, editing, sound and the stream, Binns looks out over the current media landscape in order to understand his own media practice. 

The result is a personal journey through media theory, history and technology, furnished with practical exercises for teachers, students, professionals and enthusiasts: a unique combination of theory and practice written in a highly personal and personable style that is engaging and refreshing.

This book will enable readers to understand how a personal creative practice might unlock deeper thinking about media and its place in the world. 

The primary readership will be among academics, researchers and students in the creative arts, as well as practitioners of creative arts including sound designers, cinematographers and social media content producers. 

Designed for classroom use, this will be of particular importance for undergraduate students of film production, and may also be of interest to students at MA level, particularly on the growing number of courses that specifically offer a blend of theory and practice. The highly accessible writing style may also mean that it can be taken up for high school courses on film and production.

It will also be of interest to academics delivering these courses, and to researchers and scholars of new media and digital cinema.