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.

中文翻译：

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被占领的挪威惊悚片和诺贝尔奖中的景观，地缘政治和民族认同

摘要本文以挪威被占领（2015–2020）和诺贝尔（2016）系列中的景观使用为重点，研究了将城市景观和自然环境全景用作情感的方式，以及用于内部叙事的美学工具受地缘政治影响的框架。我的分析借鉴了流行的地缘政治学，地缘批评学和视觉政治学的文献，审视了地缘政治法规和远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，以及当代对挪威人的挑战国家认同。本文还讨论了这两个系列如何适应我认为“近乎北欧的黑色”风格的主要地理视觉元素，从而更明确地关注地缘政治问题，