挪威惊悚片《被占领》和《诺贝尔》中的景观、地缘政治和国家认同

IF 2 Q2 COMMUNICATION
R. Saunders
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引用次数: 3

摘要

本文以挪威系列作品《占领》(2015-2020)和《诺贝尔》(2016)中景观的运用为重点,探讨了在地缘政治变化的框架下,城市景观和自然环境全景是如何作为情感和美学工具来讲述故事的。从流行的地缘政治、地缘批评和视觉政治的文学作品中,我的分析询问了地缘政治代码和愿景通过电视小说表现出来的方式,反映了与挪威当前在世界事务中的地位相关的各种不安全感,以及挪威民族认同面临的当代挑战。本文还讨论了这两个系列如何适应我认为的“近北欧黑色”风格的关键地理视觉元素,更明确地关注地缘政治问题,将《占领》和《诺贝尔》与北欧其他地缘政治影响的系列联系起来。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Landscape, Geopolitics, and National Identity in the Norwegian Thrillers Occupied and Nobel
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.
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来源期刊
Nordicom Review
Nordicom Review COMMUNICATION-
CiteScore
2.80
自引率
9.10%
发文量
10
审稿时长
52 weeks
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