Abstract
This paper focuses on the Heimat (home) metaphor of the Pit Bull bitch in Yilmaz Arslan's Brudermord/Fratricide (2005), a film about Turkish migrants in Germany. Updating the genre for a world of fluid boundaries, this is a Heimat film of the German margin. Arslan's film self-reflexively posits transnational Heimat film as a possible bridge between "Others", as a means to facilitate conversations which might decrease the violence of the present dog eat dog world of the margin the film portrays.
Keywords:
Kurdish/Turkish conflict; Heimat; immigration; transnational film