Abstract This article analyses the three recent Nordic Noir television series Bordertown (Sorjonen) from Finland, Trapped (Ófærð), from Iceland, and the Danish-Swedish The Bridge (Broen/Bron). All series are located on national borderlands, and this article aims to discern the significance of using such borderland settings. Departing from Doreen Massey’s emphasis on places as being inherently inter-linked with other places, the article characterises the various ways foreign influences are represented and narrativised in these three series.

中文翻译：

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外国对北欧（黑色）边境的影响

摘要本文分析了来自芬兰的三部北欧黑色电视连续剧《边境小镇》（Sorjonen），来自冰岛的《陷阱》（Ófærð）以及丹麦-瑞典《桥》（Broen / Bron）。所有系列均位于国家边境地区，本文旨在辨别使用此类边境地区的重要性。与多琳·梅西（Doreen Massey）所强调的与其他地方固有地相互联系的地方不同，本文描绘了这三个系列中代表和叙事外国影响的各种方式。