SavedAdd your journal

Journals / sinecine: Sinema Araştırmaları Dergisi / 2026 / Cilt: 7 Sayı: 1

THE UNCANNY HOMES OF FATİH AKIN’S HEAD-ON

Fatih Akın’ın Duvara Karşı Filminin Tekinsiz Evleri

Pelin Aytemiz(BASKENT UNIVERSITY, FACULTY OF COMMUNICATION)
Pages
45–61
Publication Date
2019-03-13
🏛️Bibliographic metadata and full text access for this article are provided via DergiPark.
DergiPark Record ↗
✨

AI Summary & Key Takeaways

AI Insight
⚡ TL;DR(Too Long; Didn't Read)

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 di ff erent ways of being “at home” can be possible.

📌 3 Key Takeaways

🎯
Objective & Hypothesis: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.
📊
Key Findings & Data: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.
💡
Conclusion & Impact: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 di ff erent ways of being “at home” can be possible.
🔬Design:Modeling & Simulation
📍Scope:2004 Verileri
⚙️Variables:Bağımsız ulusaşırı sinema · aksanlı sinema · Fatih Akın

Abstract

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 di ff erent ways of being “at home” can be possible.

Özet

Bu yazı Ba ğ ımsız Ulusa ş ırı Sinema üzerine süregiden tartı ş malara Ahmet Gürata’nın bu türün dönemleri üzerine doktora dersi sırasında anlattı ğ ı kavramları kullanarak katkıda bulunmayı amaçlamaktadır. Bu yazının amacı, Gürata’nın modelini kullanarak Fatih Akın’ın Gegen Die Wand   ( Duvara Kar ş ı,   2004) filmindeki ev sembolünü etraflıca incelemek ve tartı ş maya açmaktadır. Karakter ve anlatı analizi yapan tartı ş ma, filmin evcil ve yabancı mekanları nasıl görselle ş tirdi ğ i ve kavramsalla ş tırdı ğ ına odaklanarak, kimlik, ev ve aidiyet kavramlarını nasıl saptırdı ğ ı üzerinde durur. Bir öze ait olma fikrini, hem bir eve/memlekete hem de bir bedene ait olmak üzerinden de ğ erlendirerek, bu halin tekinsiz bir his yarattı ğ ı savunulmaktadır. Metin, vatanda ş /göçmen, ev sahibi/konuk gibi ikili kar ş ıtlıkların ötesine geçen diaspora deneyimi ile   ş ekillenen mekan ve karakterlere odaklanmaktadır. Gürata’nın tartı ş malarının yanısıra bu makale metodolojik olarak diasporik filmleri anlamlandırmak üzere bir model sunan Hamid Naficy’nin “Aksanlı Sinema” tanımlamasına dayanır. Bu ba ğ lamda bu yazı   Duvara Kar ş ı   filminin evde olmanın farklı   ş ekillerini görselle ş tiren anlatısının, kimlik konusuna ele ş tirel bir yakla ş ım getirdi ğ ini savunmaktadır.

🔖

Cite This Article

Aytemiz, P. (2019). THE UNCANNY HOMES OF FATİH AKIN’S HEAD-ON. sinecine: Sinema Araştırmaları Dergisi, Cilt: 7 Sayı: 1, 45–61. https://doi.org/10.32001/sinecine.537117

📄 Full Text PDF Viewer

📄

PDF görüntüleyici hazırlanıyor...

References (18)

  1. Benedict, A. (1991). Imagined Communities: Reflections on the Origins and Spread of Nationalism. London: Verso.
  2. Elsaesser, T. (2008). Ethical Calculus: The Cross-Cultural Dilemmas and Moral Burdens of Fatih Akın’s The Edge of Heaven. Film Comment, 44(3), 34-37.
  3. Ezra, E. & Rowden, T. (2006). General Introduction: What is Transnational Cinema. In Ezra, E. & Rowden, T. (Eds.), Transnational Cinema: The Film Reader (pp. 1-12). London: Routledge.
  4. Freud, S. (1958). On Creativity and the Unconscious. New York: Harper and Brothers.
  5. Göktürk, D. (2000). Turkish Women on German Streets: Closure and Exposure in Transnational Cinema. In M. Konstantarakos (Ed.), Spaces in European Cinema (pp. 64-76). Exeter/Portland: Intellect.
  6. Gürata, A. (2008). Film and Genre. Personal Collection of A. Gürata, I. D. Bilkent University, Ankara.
  7. Hall, S. (1994). Cultural Identity and Diaspora. In Patrick Williams & Laura Chrisman (Eds.), Colonial Discourse and Post-Colonial Theory: A Reader (pp. 392-403). New York: Columbia University Press.
  8. Hayward, S. (2000). Cinema Studies: The Key Concepts. London: Routledge.
  9. Marks, L. (2000). The Skin of the Film: Intercultural Cinema, Embodiment and the Senses. Durham: Duke University Press.
  10. Naficy, H. (2001). An Accented Cinema: Exile and Diasporic Filmmaking. Princeton: Princeton University Press.
  11. Papastergiadis, N. (1996). Introduction: The Home in Modernity. Dialogues in the Diasporas: Essays and Conversations on Cultural Identity. London: Rivers Oram Press.
  12. Pines, J. (1989). Preface. In Pines, In J. & Willemen, P. (Eds.), Questions of Third Cinema (pp. vii-x). London: BFI.
  13. Sarita, M. (1996). ‘Beyond the Cinema of Duty?’ The Pleasures of Hybridity: Black British Film of the 1980s and 1990s. In Andrew Higson (Ed.), Dissolving Views (pp. 202-225). London & New York: Bloomsbury Usa Academic.
  14. Suner, A. (2006a). Hayalet Ev: Yeni Türk Sinemasında Aidiyet, Kimlik ve Bellek. Istanbul: Metis.
  15. Suner, A. (2005). Dark Passion: Fatih Akın’s Head On. Sight and Sound, 15(3), 18-21.
  16. Suner, A. (2006b). Outside in: ‘Accented Cinema’ at Large. Inter-Asia Cultural Studies, 7(3), 363-382.
  17. Willemen, P. (1989). The Third Cinema Question. Notes and Reflections. In J. Pines & P. Willemen” (Eds.), Questions of Third Cinema (pp. 1-30). London: BFI.
  18. Vitali V. & Willemen, P. (2006). Introduction. In V. Vitali & P. Willemen (Eds.), Theorizing National Cinema (pp. 1-14). London: BFI.