Foreign Influences on Nordic (Noir) Borderlands

This article analyses the three recent Nordic Noir television series Bordertown (Sorjonen) from Finland, Trapped (Ófæro), from Iceland, and the Danish- Swedish The Bridge (Broen/Bron). All series are located on national borderlands, and this article aims to discern the significance of using such bor...

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Bibliographic Details
Published in:European Journal of Scandinavian Studies
Main Author: Marklund, Anders
Format: Article in Journal/Newspaper
Language:English
Published: De Gruyter 2019
Subjects:
Studies on Film
television
nordic noir
borders
globalization
Crime Film & TV
Iceland
Online Access:https://lup.lub.lu.se/record/3fb3f56a-ae19-4a7b-8a84-7250ed1953b0
https://doi.org/10.1515/ejss-2019-0011
Description
Summary:This article analyses the three recent Nordic Noir television series Bordertown (Sorjonen) from Finland, Trapped (Ófæro), from Iceland, and the Danish- Swedish The Bridge (Broen/Bron). All series are located on national borderlands, and this article aims to discern the significance of using such borderland settings. Departing from Doreen Massey's emphasis on places as being inherently interlinked with other places, the article characterises the various ways foreign influences are represented and narrativised in these three series.

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