This article attempts to further the debate around the issues of Transnational Cinema by exploring Ahmet Gürata’s delineation of the phases of this genre. It traces the patterns of the model, especially those clustered around the symbol “home” in Gegen Die Wand (Head-On the 2004 film by Fatih Akın, Discussions resulting from the narrative and character analysis revolve around the way the film shifts the meanings of identity, home, and belonging, and focuses on the conceptualization and visualization of diasporic “homely” spaces. The discussion of belonging includes both the notion of belonging to a home/homeland and to something that might be described as an “uncanny” experience. The article also depends on Hamid Naficy’s (2001) description of Accented Cinema, and uses that model to make sense of exilic /diasporic films. Looking at diasporic places and exilic subjects that transcend the binaries of host-home or migrant-citizen, the article argues that Head-On calls for an alternative way of perceiving identity by narrating how different ways of being “at home” can be possible.
Keywords: Transnational Cinema, accented cinema, Fatih Akın, Head-On, home, uncanny, cultural identity, diaspora, exile.