Search results for "televisiosarjat"
showing 10 items of 23 documents
Polar Bear in 'Fortitude'. Affective Aesthetics and Politics of Climate Change
2021
In the first season of the television Eco Noir crime series “Fortitude” (2015) the polar bear appears as a sticky object that embodies an ambiguous affective charge as an icon of global warming. This article discusses the ways in which the polar bear evokes viewer affect in the series through two discourses. The first one relates to violence, essentially present in crime narratives, and how the human and nonhuman animal are positioned in relation to global warming, violence and each other. It raises questions of place and belonging in a local and global context and examines how the polar bear is constructed in terms of stranger danger and victimization in relation to human animals and the t…
‘Something’s Not Right in Silverhöjd’: Nordic Supernatural and Environmental and Species Justice in Jordskott
2022
In the Swedish/Finnish/British/Norwegian television series Jordskott (2015–17) child victims’ mysterious disappearances signal that ‘something’s not right’ in Silverhöjd, a Swedish town. Three detectives uncover a conflict between the locals who depend on a local industry and preternatural human-like but non-human forest creatures familiar from Nordic tradition and fairylore. Both humans and semi/non-humans are ambivalent, but what sets the latter apart is their implication in caring for nature, protecting it, and punishing those who harm it. We analyse this series’ instantiation of a folkloristic popular green criminology, based in the idea that popular discourses’ representations of crime…
Epistemologies of (Un)sustainability in Swedish Crime Series Jordskott
2017
ABSTRACTEnvironmental themes have invaded Nordic TV crime series over the past few years. In this paper, the epistemological starting points of a Swedish series, Jordskott, are examined. The paper argues that the series criticizes the traditional humanist paradigm on which realistic crime narratives are based. It does so through the introduction of fantastic non-human beings with the help of which the boundaries of ‘nature’ and ‘human being’ are set mobile. In the series, subjectivities are rendered volatile and the humanist epistemological paradigm is questioned as a sustainable ground for defining what counts as a subject. Theoretically, the paper draws on posthumanist theory and ecocriti…
Remote but Connected : Lapland as a Scene of Transnational Crime in Ivalo
2021
Set in a small town in the north of Finland, the crime TV series Ivalo (Arctic Circle, Finland, 2018) exemplifies the fascination of Nordic Noir with ‘remote’ locations as scenes of transnational crime. The plot seems to forebode the corona pandemic, portraying the spread of a life-threatening ‘Yemenite virus’ developed as a biological weapon from the Balkans to Lapland. In this article, I analyze how the virus narrative allows the series to bring new perspectives on Nordic Noir. The narrative emphasizes international connections while creating representations of places that can be characterized as both translocal (Greiner and Sakdapolrak 2013) and glocal (Robertson 2012). Because of its fa…
Ympäristöuhkia ja tunnistamatonta vierautta
2022
Tutkimme artikkelissamme ekologista ja affektiivista outouttamista suomalais-ruotsalaisessa spekulatiivista fiktiota ja Nordic noiria yhdistävässä televisiosarjassa White Wall (2020). Väitämme, että sarjan affektiivinen kokonaissävy muodostuu spekulatiivisen fiktion ja Nordic noirin lajityypillisten elementtien yhdistyessä, mikä rakentaa outouttavaa katsojakokemusta, jossa fiktiivisen maailman outous yhdistyy tosimaailman ekologisiin kysymyksiin. Tämä affektiivisen ja ekologisen outouttamisen yhdistelmä toimii lähtökohtana sarjan, etenkin sen keskeisen oudon ilmiön, valkoisen seinän, posthumanistiselle luennallemme. Hyödynnämme analyysissämme affektitutkimusta, eri genreteorioita sekä posth…
Kylmän sodan Suomi, suomalaiset ja suomettuminen
2022
Televisioformaatti ja kulttuurinen neuvottelu
2019
Televisioformaatit ovat kulkeneet mukanani jo yli kymmenen vuoden ajan – välillä päätoimisen tutkimustyön kohteena, välillä sivujuonteena muiden töiden lomassa ja usein myös osana omaa katsomiskokemustani. Ensimmäisen kerran törmäsin formaatteihin, kun keräsin aineistoa televisiohistoriaa käsittelevää väitöstutkimustani varten. Viitteitä lisensoimattomista ohjelmakopioista tuli vastaan useissa eri lähteissä, mutta varhaisin virallisesti Suomeen hankittu ohjelmaformaatti löytyi yllättäen Ylen arkistosta. kun väitökseni jälkeen pääsin vihdoin jäljittämään Tenavatuokion historiaa, syntyi ajatus televisioformaatista kulttuurisena neuvotteluna. Lopulta tämä ajatus laajeni kolmivuotiseksi tutkimu…
Affective Estrangement and Ecological Destruction in TV Crime Series Fortitude
2020
Koistinen and Mäntymäki examine how graphic violence evokes affect in the context of ecological destruction in the UK-produced TV crime fiction series Fortitude (2015–17). They argue that the series mobilises generic exchange by incorporating speculative elements into a traditional crime narrative structure, thereby creating space for affective estrangement. They show how the amalgamation of violence, ecological destruction and affect serves as an entrance into socioecological critique with a strong cautionary element through the negotiation between the human and nonhuman and the ethics of violence. Theoretically, the chapter relies on Sara Ahmed’s view of affect as social processes produce…
Tale(s) of a forest – re-creation of a primeval forest in three environmental narratives
2020
We analyze three environmentally conscious works that are concerned with the state of Finnish forests: the documentary film Metsän tarina/Tale of a Forest (2012), the book with the same name (2013) and the series of short documentaries Tarinoita metsästä/Tales from the Forest (2013). By combining methods from arts research and ecology, we ask how the narratives adapt material from nature photography. The film and book present mythic stories and old Finnish beliefs about forests. They also contain references to cultural memory. Additionally, the biodiversity on display reflects a conventional practice to exhibit large or charismatic species. However, the ecological message remains only impli…