Abstract
Nordic noir can be productively defined as a group style. The global popularity of prototypical Nordic noirs Forbrydelsen (The Killing, 2007–2012) and Bron/Broen (The Bridge, 2011–2018) encourages Nordic filmmakers and television producers to adapt and appropriate their conventions in the hope of reaching large audiences. Employing a specific style is a way of producing crime films and television series in an identifiable manner as Nordic noir. As a key example, the chapter analyzes how “the first Finnish Nordic noir” Sorjonen (Bordertown, 2016–) adapts and appropriates stylistic elements from The Bridge and The Killing in its use of (1) modernist art cinema elements, (2) conventions of the popular crime genre, and (3) Nordic regional elements. These are the three categories essential to Nordic noir.
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