Abstract

Nordic noir is a popular crime genre associated with a region (Scandinavia), a narrative style (unpretentious/socially critical) and a particular aesthetic look (dark/foreboding). Renowned for its psychologically complex characterization and gloomy Mise-en-scène, and spanning best-selling crime fiction, film, and globally successful television drama, Nordic noir has mushroomed from regional niche market to international phenomenon in little more than a decade. A review of both popular and academic accounts of the genre suggest that much of Nordic noir’s appeal comes from its supposed ‘gritty’ or ‘realist’ account of Scandinavian society. This paper, however, adopts a different perspective. Drawing on cultural criminology, ultra-realism and Lacanian psychoanalytic theory, we argue that, rather than accurately reflecting the complex social and political problems currently confronting late modern Scandinavian welfare societies, Nordic noir has lost its grip on realism and any meaningful association with actual/established Scandinavian values. Instead, Nordic noir is now functioning as a displacement narrative, a form of cultural expression that allows artists, producers and their audiences to push the region’s social problems outside the realm even of the Imaginary.

中文翻译：

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穿过斯堪的纳维亚半岛，黑暗：对北欧黑色的犯罪学批判

摘要

北欧黑色是一种流行的犯罪类型，与某个地区（斯堪的纳维亚半岛），叙事风格（朴实/社会批判）和特定的美学外观（黑暗/虚假）相关。因其复杂的心理特征和阴郁的Mise-en-scène而闻名，遍及全球的畅销犯罪小说，电影和全球成功的电视连续剧，在不到十年的时间里，北欧黑色电影已从区域利基市场迅速发展为国际现象。对该流派的流行和学术叙述进行的回顾表明，北欧黑色的吸引力很大一部分来自其对斯堪的纳维亚社会的所谓“粗俗”或“现实”描述。但是，本文采用了不同的观点。我们认为，北欧黑社会没有利用文化犯罪学，超现实主义和拉康主义的精神分析理论，而是准确地反映现实主义以及与现实/现实世界的任何有意义的联系，而不是准确地反映出现代斯堪的纳维亚福利社会当前面临的复杂的社会和政治问题。确立的斯堪的纳维亚价值观。取而代之的是，北欧黑电影现在起着位移叙事的作用，。