Abstract This article addresses the challenges facing local newspapers as the digital economy transitions to artificial intelligence (AI). We interview five CEOs of Scandinavian newspaper corporations, representing small, mid-sized, and large newspaper chains. The analysis focuses on three main factors emerging from the interviews – technological transformations, digital advertising markets, and corporate enrolment – and how they relate to business model disruption and the non-substitutability of local news. The analysis is set within the framework of the digital transformation, which, for the purpose of this study, we argue consists of two phases: getting online (until about 2014), and algorithmic adaptation (the introduction of programmatic advertising and audience metrics from about 2014). The analysis concludes that as non-substitutability is lost on the advertising side of the market, this challenges the umbrella model of newspaper publishing.
{"title":"The non-substitutability of local news?Advertising and the decline of journalism's umbrella market model","authors":"Helle Sjøvaag, T. Owren","doi":"10.2478/nor-2021-0001","DOIUrl":"https://doi.org/10.2478/nor-2021-0001","url":null,"abstract":"Abstract This article addresses the challenges facing local newspapers as the digital economy transitions to artificial intelligence (AI). We interview five CEOs of Scandinavian newspaper corporations, representing small, mid-sized, and large newspaper chains. The analysis focuses on three main factors emerging from the interviews – technological transformations, digital advertising markets, and corporate enrolment – and how they relate to business model disruption and the non-substitutability of local news. The analysis is set within the framework of the digital transformation, which, for the purpose of this study, we argue consists of two phases: getting online (until about 2014), and algorithmic adaptation (the introduction of programmatic advertising and audience metrics from about 2014). The analysis concludes that as non-substitutability is lost on the advertising side of the market, this challenges the umbrella model of newspaper publishing.","PeriodicalId":45517,"journal":{"name":"Nordicom Review","volume":"42 1","pages":"1 - 14"},"PeriodicalIF":1.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49244560","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This study examines the construction of media literacy in a special issue on source criticism of the Swedish children's comic Bamse – Världens Starkaste Björn [Bamse – The World's Strongest Bear]. This is done with the purpose of understanding what values, perspectives, and practices are promoted when media literacy is communicated via children's edutainment media. Using narrative and discourse analysis, we problematise how notions of truth (such as post-truth) guide much of the discourse on digital media in today's post-political society, and how that and individualisation shape notions of media literacy. This is visible in the analysed case in how source criticism is constructed in relation to notions of truth and falsehood, and as moral lessons aimed at the individual media user. We argue that such an individualised, decontextualised, and depoliticised take on media literacy is problematic and an expression of neoliberalism and a middle-class gaze.
{"title":"Fostering the truthful individualCommunicating media literacy in the comic Bamse","authors":"Ernesto Abalo, Johan Nilsson","doi":"10.2478/nor-2021-0032","DOIUrl":"https://doi.org/10.2478/nor-2021-0032","url":null,"abstract":"Abstract This study examines the construction of media literacy in a special issue on source criticism of the Swedish children's comic Bamse – Världens Starkaste Björn [Bamse – The World's Strongest Bear]. This is done with the purpose of understanding what values, perspectives, and practices are promoted when media literacy is communicated via children's edutainment media. Using narrative and discourse analysis, we problematise how notions of truth (such as post-truth) guide much of the discourse on digital media in today's post-political society, and how that and individualisation shape notions of media literacy. This is visible in the analysed case in how source criticism is constructed in relation to notions of truth and falsehood, and as moral lessons aimed at the individual media user. We argue that such an individualised, decontextualised, and depoliticised take on media literacy is problematic and an expression of neoliberalism and a middle-class gaze.","PeriodicalId":45517,"journal":{"name":"Nordicom Review","volume":"42 1","pages":"109 - 123"},"PeriodicalIF":1.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43714595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In this article, I discuss the geopolitical underpinnings of Russophone fans’ response to the Norwegian hit teen series Skam [Shame]. Starting from the wide-spread distribution of Skam through informal horizontal networks, my article highlights the context specificity of fan participation in meaning-making around global television. Employing multimodal discourse analysis to the social media platform VKontakte, I examine how Russophone audiences of global television imagine the country of origin of their object of fandom, and how spatial imaginations embedded in this process contribute to popular geopolitics of Norden – that is, to geopolitical reasoning of narratives and representations of Nordic countries available through popular culture. My analysis shows how Norway and its positioning in the world provides an important symbolic resource for further discussions on identity and belonging. A close examination of mediated transnational cultural exchange through fan communities advances our understanding of the meaning of popular geopolitics in the age of global television.
{"title":"Norway ReimaginedPopular geopolitics and the Russophone fans of Skam","authors":"S. Ratilainen","doi":"10.2478/nor-2020-0016","DOIUrl":"https://doi.org/10.2478/nor-2020-0016","url":null,"abstract":"Abstract In this article, I discuss the geopolitical underpinnings of Russophone fans’ response to the Norwegian hit teen series Skam [Shame]. Starting from the wide-spread distribution of Skam through informal horizontal networks, my article highlights the context specificity of fan participation in meaning-making around global television. Employing multimodal discourse analysis to the social media platform VKontakte, I examine how Russophone audiences of global television imagine the country of origin of their object of fandom, and how spatial imaginations embedded in this process contribute to popular geopolitics of Norden – that is, to geopolitical reasoning of narratives and representations of Nordic countries available through popular culture. My analysis shows how Norway and its positioning in the world provides an important symbolic resource for further discussions on identity and belonging. A close examination of mediated transnational cultural exchange through fan communities advances our understanding of the meaning of popular geopolitics in the age of global television.","PeriodicalId":45517,"journal":{"name":"Nordicom Review","volume":"41 1","pages":"139 - 153"},"PeriodicalIF":1.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43826250","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Focusing on the use of landscape in the Norwegian series Occupied (2015–2020) and Nobel (2016), this article examines the ways in which cityscapes and panoramas of the natural environment are employed as affective, as well as aesthetic tools for storytelling within a geopolitically inflected framework. Drawing on literature from popular geopolitics, geocriticism, and visual politics, my analysis interrogates the ways in which geopolitical codes and visions manifest via televisual fiction, reflecting a variety of insecurities associated with Norway's current position in world affairs, as well as contemporary challenges to Norwegian national identity. This article also discusses how these two series have adapted key geovisual elements of the what I deem the “near Nordic Noir” style to focus more explicitly on geopolitical questions, linking Occupied and Nobel to other geopolitically inflected series from Nordic Europe.
{"title":"Landscape, Geopolitics, and National Identity in the Norwegian Thrillers Occupied and Nobel","authors":"R. Saunders","doi":"10.2478/nor-2020-0006","DOIUrl":"https://doi.org/10.2478/nor-2020-0006","url":null,"abstract":"Abstract Focusing on the use of landscape in the Norwegian series Occupied (2015–2020) and Nobel (2016), this article examines the ways in which cityscapes and panoramas of the natural environment are employed as affective, as well as aesthetic tools for storytelling within a geopolitically inflected framework. Drawing on literature from popular geopolitics, geocriticism, and visual politics, my analysis interrogates the ways in which geopolitical codes and visions manifest via televisual fiction, reflecting a variety of insecurities associated with Norway's current position in world affairs, as well as contemporary challenges to Norwegian national identity. This article also discusses how these two series have adapted key geovisual elements of the what I deem the “near Nordic Noir” style to focus more explicitly on geopolitical questions, linking Occupied and Nobel to other geopolitically inflected series from Nordic Europe.","PeriodicalId":45517,"journal":{"name":"Nordicom Review","volume":"41 1","pages":"63 - 83"},"PeriodicalIF":1.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42993446","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article presents a framework for thinking about the intersections between geopolitics and Northern European television drama by examining the contemporary Nordic Noir genre of crime drama. Nordic Noir features not only the double plot that combines sociopolitical critique with crime drama, but also a third “gaze” that engages aesthetics and territorial features that further individual series’ geopolitical critique. Nordic Noir has become especially attuned to contemporary geopolitical issues specific to its setting (climate change, East-West rivalries, etc.), through which viewers engage with region-specific geopolitical codes and visions. However, what happens when Nordic geopolitical television drama series are exported and transculturally adapted to different geopolitical and cultural realities? By examining the Southeast Asian localisation of The Bridge (Viu/HBO Asia, 2018–) that transforms Nordic Noir into “tropical noir”, this article critically reflects on the geopolitical power and societal engagement of the Nordic Noir template both within and beyond the Nordic region.
{"title":"Geopolitical Television Drama Within and Beyond the Nordic Region","authors":"P. Chow, Anne Marit Waade, R. Saunders","doi":"10.2478/nor-2020-0013","DOIUrl":"https://doi.org/10.2478/nor-2020-0013","url":null,"abstract":"Abstract This article presents a framework for thinking about the intersections between geopolitics and Northern European television drama by examining the contemporary Nordic Noir genre of crime drama. Nordic Noir features not only the double plot that combines sociopolitical critique with crime drama, but also a third “gaze” that engages aesthetics and territorial features that further individual series’ geopolitical critique. Nordic Noir has become especially attuned to contemporary geopolitical issues specific to its setting (climate change, East-West rivalries, etc.), through which viewers engage with region-specific geopolitical codes and visions. However, what happens when Nordic geopolitical television drama series are exported and transculturally adapted to different geopolitical and cultural realities? By examining the Southeast Asian localisation of The Bridge (Viu/HBO Asia, 2018–) that transforms Nordic Noir into “tropical noir”, this article critically reflects on the geopolitical power and societal engagement of the Nordic Noir template both within and beyond the Nordic region.","PeriodicalId":45517,"journal":{"name":"Nordicom Review","volume":"41 1","pages":"11 - 27"},"PeriodicalIF":1.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45559083","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In this article, I show how a vision for the Nordic region exists as a banal Nordism, based on years of content exchange, Nordic co-production models, and public funding opportunities. I document how new commercial players have been able to gain a very large market share in only a few years, significantly disrupting the reach of public service broadcasters in the Nordic region. The three largest contemporary commercial players on the Nordic market – Viaplay, HBO, and Netflix – have been able to, in very different ways, tap into the ideology of banal Nordism and the geopolitical unity of the Nordic region, and they have done so by producing and acquiring content that has deep associations with one of the Nordic region's main international brands: Scandinavian crime fiction and Nordic Noir.
{"title":"Nordic Noir from Within and Beyond: Negotiating geopolitical regionalisation through SVoD crime narratives","authors":"Hansen Toft Kim","doi":"10.2478/NOR-2020-0012","DOIUrl":"https://doi.org/10.2478/NOR-2020-0012","url":null,"abstract":"Abstract In this article, I show how a vision for the Nordic region exists as a banal Nordism, based on years of content exchange, Nordic co-production models, and public funding opportunities. I document how new commercial players have been able to gain a very large market share in only a few years, significantly disrupting the reach of public service broadcasters in the Nordic region. The three largest contemporary commercial players on the Nordic market – Viaplay, HBO, and Netflix – have been able to, in very different ways, tap into the ideology of banal Nordism and the geopolitical unity of the Nordic region, and they have done so by producing and acquiring content that has deep associations with one of the Nordic region's main international brands: Scandinavian crime fiction and Nordic Noir.","PeriodicalId":45517,"journal":{"name":"Nordicom Review","volume":"41 1","pages":"123 - 137"},"PeriodicalIF":1.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47287136","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article examines the Norwegian climate fiction television series Okkupert [Occupied] (2015–), focusing on the ways in which it reveals the complicity of Nordic subjects in an ecological dystopia. I argue that in illuminating this complicity, the series reimagines the Norwegian national self-conception rooted in a discourse of Norway's exceptionalist relation to nature. I show how Norway's green (self-)image is expressed through what I call “white ecology” – an aesthetics of whiteness encoded in neoromantic mountainous winter landscapes widely associated with the North, but also in the figure of the Norwegian white male polar explorer. I argue in this article that Occupied challenges this white-ecological masculine discourse through “dark ecology” (Morton, 2007), embodied by Russia and expressed by the avoidance of spectacular landscape aesthetics as well as by the strategy of “enmeshment”, facilitated by the medium of televisual long-form storytelling and the eco-noir aesthetics.
{"title":"The Landscapes of Eco-NoirReimagining Norwegian eco-exceptionalism in Occupied","authors":"A. Mrozewicz","doi":"10.2478/nor-2020-0018","DOIUrl":"https://doi.org/10.2478/nor-2020-0018","url":null,"abstract":"Abstract This article examines the Norwegian climate fiction television series Okkupert [Occupied] (2015–), focusing on the ways in which it reveals the complicity of Nordic subjects in an ecological dystopia. I argue that in illuminating this complicity, the series reimagines the Norwegian national self-conception rooted in a discourse of Norway's exceptionalist relation to nature. I show how Norway's green (self-)image is expressed through what I call “white ecology” – an aesthetics of whiteness encoded in neoromantic mountainous winter landscapes widely associated with the North, but also in the figure of the Norwegian white male polar explorer. I argue in this article that Occupied challenges this white-ecological masculine discourse through “dark ecology” (Morton, 2007), embodied by Russia and expressed by the avoidance of spectacular landscape aesthetics as well as by the strategy of “enmeshment”, facilitated by the medium of televisual long-form storytelling and the eco-noir aesthetics.","PeriodicalId":45517,"journal":{"name":"Nordicom Review","volume":"41 1","pages":"85 - 105"},"PeriodicalIF":1.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48437267","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article is an ecocritical reading of the Swedish television series Jordskott. I discuss the effects in the series produced by the combination of the Nordic Noir's style and narrative techniques with elements of other genres, especially Gothic horror. I argue that through the contemporary reworking of the centuries-old Nordic mythology, Jordskott demonstrates how the aggressive powers of nature in Gothic narratives can no more be conventionally explained by referring to the pagan, pre-Christian beliefs, but need to be reconceived in light of the relentless environmental devastation brought about by humankind. The link unveiled between natural ecology and cultural mythology allows the series to surpass the limitations of the regionally informed folkloric story and to evolve into an ecological cautionary tale of global significance.
{"title":"Transformations of the Evil Forest in the Swedish Television Series Jordskott: An ecocritical reading","authors":"I. Souch","doi":"10.2478/nor-2020-0011","DOIUrl":"https://doi.org/10.2478/nor-2020-0011","url":null,"abstract":"Abstract This article is an ecocritical reading of the Swedish television series Jordskott. I discuss the effects in the series produced by the combination of the Nordic Noir's style and narrative techniques with elements of other genres, especially Gothic horror. I argue that through the contemporary reworking of the centuries-old Nordic mythology, Jordskott demonstrates how the aggressive powers of nature in Gothic narratives can no more be conventionally explained by referring to the pagan, pre-Christian beliefs, but need to be reconceived in light of the relentless environmental devastation brought about by humankind. The link unveiled between natural ecology and cultural mythology allows the series to surpass the limitations of the regionally informed folkloric story and to evolve into an ecological cautionary tale of global significance.","PeriodicalId":45517,"journal":{"name":"Nordicom Review","volume":"41 1","pages":"107 - 122"},"PeriodicalIF":1.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47538174","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract A current fault line in the study of crime fiction as a transnational genre is to what extent crime novels offer readers genuine cosmopolitan windows onto other worlds and cultures or whether it simply is bound to reproduce trite imagologies and national stereotypes. The overarching premise for this article is to explore the extent to which Henning Mankell's crime novels and their adaptations engage the character Wallander's own and “other” worlds with a cosmopolitan perspective, by considering the mutations of Wallander's fictional local world as intricately tied to discursive geopolitical realities of the post–Cold War world. More specifically, I consider what may be gained from exploring the Wallander series within two distinct – yet, I shall argue, related – perspectives on geopolitics and crime fiction: on the one hand, the geopolitics of the translation, adaptation, and reception networks that have “worlded” the Wallander series (what I call Wallander's geopolitical adaptation networks), and on the other, the fictional geopolitical networks that weave the Global North and the Global South together in several of Mankell's intricate crime plots (Wallander's dark geopolitics).
{"title":"Wallander's Dark Geopolitics","authors":"J. Stougaard-Nielsen","doi":"10.2478/nor-2020-0014","DOIUrl":"https://doi.org/10.2478/nor-2020-0014","url":null,"abstract":"Abstract A current fault line in the study of crime fiction as a transnational genre is to what extent crime novels offer readers genuine cosmopolitan windows onto other worlds and cultures or whether it simply is bound to reproduce trite imagologies and national stereotypes. The overarching premise for this article is to explore the extent to which Henning Mankell's crime novels and their adaptations engage the character Wallander's own and “other” worlds with a cosmopolitan perspective, by considering the mutations of Wallander's fictional local world as intricately tied to discursive geopolitical realities of the post–Cold War world. More specifically, I consider what may be gained from exploring the Wallander series within two distinct – yet, I shall argue, related – perspectives on geopolitics and crime fiction: on the one hand, the geopolitics of the translation, adaptation, and reception networks that have “worlded” the Wallander series (what I call Wallander's geopolitical adaptation networks), and on the other, the fictional geopolitical networks that weave the Global North and the Global South together in several of Mankell's intricate crime plots (Wallander's dark geopolitics).","PeriodicalId":45517,"journal":{"name":"Nordicom Review","volume":"41 1","pages":"29 - 42"},"PeriodicalIF":1.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48352520","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The “golden age” of Scandinavian television has often been associated with Nordic Noir crime dramas, yet many of the acclaimed serials also engage with geopolitical themes such as migration, cross-border crime, military conflicts, and global terrorism. In this article, we examine the ways in which Nordic Noir contributes to discourses on such topics. We look specifically at the dramas Okkupert [Occupied] (NRK, 2015–), Ørnen [The Eagle] (DR, 2004–2006), Nobel – fred for enhver pris [Nobel – Peace at any Cost] (NRK, 2016), and Kriger [Warrior] (Netflix, 2018–) as they explore potential threats to Scandinavian society and the Nordic welfare state through the distinct figure of the vigilante veteran. Returning soldiers, as we argue, are particularly productive of geopolitics because they are shown to be adept (even well suited) to dealing with the geopolitical uncanny. They, in fact, problematise the positive Scandinavian self-image. While Scandinavian society, as can be inferred from the dramas, has become hypocritical and complacent owing to a very high standard of living, the veterans are the only people adept at responding to threats and crises.
摘要斯堪的纳维亚电视台的“黄金时代”经常与北欧黑色犯罪剧联系在一起，但许多备受赞誉的连续剧也涉及地缘政治主题，如移民、跨境犯罪、军事冲突和全球恐怖主义。在这篇文章中，我们考察了Nordic Noir在这些主题的话语中所起的作用。我们特别关注戏剧《Okkupert[占领]》（NRK，2015–）、《Örnen[鹰]》（DR，2004–2006）、《Nobel–fred for enhver pris[Nobel–Peace at any Cost]》（NR K，2016）和《Kriger[Warrior]》（Netflix，2018–），因为它们通过治安维持老兵的独特形象探索了斯堪的纳维亚社会和北欧福利国家的潜在威胁。正如我们所说，回归的士兵在地缘政治方面尤其富有成效，因为他们被证明擅长（甚至非常适合）应对地缘政治的神秘事件。事实上，他们对斯堪的纳维亚积极的自我形象提出了质疑。从剧中可以看出，斯堪的纳维亚社会由于生活水平非常高而变得虚伪和自满，但退伍军人是唯一善于应对威胁和危机的人。
{"title":"The Geopolitics of Nordic Noir: Representations of current threats and vigilantes in contemporary Danish and Norwegian serial drama","authors":"K. Dodds, Tobias Hochscherf","doi":"10.2478/nor-2020-0015","DOIUrl":"https://doi.org/10.2478/nor-2020-0015","url":null,"abstract":"Abstract The “golden age” of Scandinavian television has often been associated with Nordic Noir crime dramas, yet many of the acclaimed serials also engage with geopolitical themes such as migration, cross-border crime, military conflicts, and global terrorism. In this article, we examine the ways in which Nordic Noir contributes to discourses on such topics. We look specifically at the dramas Okkupert [Occupied] (NRK, 2015–), Ørnen [The Eagle] (DR, 2004–2006), Nobel – fred for enhver pris [Nobel – Peace at any Cost] (NRK, 2016), and Kriger [Warrior] (Netflix, 2018–) as they explore potential threats to Scandinavian society and the Nordic welfare state through the distinct figure of the vigilante veteran. Returning soldiers, as we argue, are particularly productive of geopolitics because they are shown to be adept (even well suited) to dealing with the geopolitical uncanny. They, in fact, problematise the positive Scandinavian self-image. While Scandinavian society, as can be inferred from the dramas, has become hypocritical and complacent owing to a very high standard of living, the veterans are the only people adept at responding to threats and crises.","PeriodicalId":45517,"journal":{"name":"Nordicom Review","volume":"41 1","pages":"43 - 61"},"PeriodicalIF":1.1,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44102750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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