Product context
Example of a Scandinavian sub genre of crime drama- Nordic noir.
The drama is set in Sweden and the title refers to the Oresund bridge between Denmark and Sweden and is a metaphor for the collab between the two police forces which commenced after a body was discovered in the middle of the bridge in the first episode
Film was a co- production between filmlance international and nimbus film.
Series 3 opens w a murder in Malmo of a prominent danish gender campaigner and owner of copenhagens first gender neutral pre school. Swedish detective Saga Noren is assigned a new danish colleague Hanne to help w the investigation, but their relationship does not get off on a good start w feelings still running high from sagas involvement in sending her previous danish partner Martin to jail for murdering the man who killed his son.
Codes and conventions including process through which media lang develops a as a genre
Narrative:
- there are elements of a flexi-narrative. The characters are complex, storylines interweave, and the audience is challenged through enigma and engagement with complex characters.
- binary opps: cultural differences of Sweden vs Denmark, Saga vs Hanne, the nuclear vs the non-nuclear family and illusion vs reality.
The resolving of some of these binary oppositions within the story world may have an ideological significance e.g., evil being punished (structuralism, strauss)
- plot situations: typical of genre; the discovery of a body, an arrest, an interview with a suspect or where the perpetrator of the crime is revealed by the detective.
But, these situations are a bit different due to the incongruencies in Saga’s character. E.g., in the interview with the victim’s wife Saga has to be prevented from showing her the crime scene photographs. - narrative strands: + sagas past and her involvement w Martin, her role in narrative and how she relates to others, her r/s w mother
+ team dynamics (tension w saga and Swedish team)
+ crime (who killed helle anker?)
+ extra storylines like role of alexsandr and place in narrative
+ character of henrik, drug dependence and enigma surrounding family - stock characters: Often the pairing of characters are binary opps, and their r/s contribute to tensions in the narrative, this is shown w Saga and firstly Hanne and then potentially Henrik.
Settings & location: typical; police station, the post-mortem lab and urban crime settings. Iconic; bridge
Theory
Narratology, todorov
Equilibrium: Martin is now in jail, Saga is focused on work and Pettersen and Lillian are married.
Disruption: discovery of the body of helle anker. Enigma coder are established as key element of narrative in attempt to find killer
Resolution: as this is an episodic drama, there would not be a resolution at the end of the first episode, instead there is a cliffhanger with an explosion where Hanne is seriously injured and the introduction of Henrik as Saga’s new partner.
How genre conventions are socially and historically relative, dynamic and can be used in a hybrid way
Nordic noir crime dramas demonstrate hybridity through refs to conventions of film noir:
- dark, pressimistic tone and mood
- chiaroscuro lighting, shadows for enigma codes and a melancholy aesthetic
- sexually attractive femme fatale as strong protagonist
- flawed anti hero (detective) often w a past
- slow pace
- themes of corruption, greed, obsession
- strong awareness of mortality
- complex narrative and convoluted plot
- iconography, blinds, cigarettes, neon, rain, alleyways, trench coat
Theory
Genre, Steve neale
- Scandinavian setting, locations and enigmatic character of saga is proved novel for audiences
- example of the Nordic Noir sub-genre, borrows conventions from film noir.
Hybridity:
- Nordic noir / film noir
- elements of action genre e.g., chase scene
- horror conventions, build up of tense music, slow turning to camera and execution of crime
- elements of psychological thriller, murder scene, slow pace, use of silence
- gender rep, saga is an unusual heroine w interesting behaviour habits
- aesthetic, mood and dark w unsettling themes
- tech codes, low key lighting, intense close ups
- unique setting, bridge, reps the other worldly which links to culture
- narrative of stylised moulders ref art and notions of surreal
How media language influences meaning
Visual codes
Clothing:
- Saga’s versions of the same outfit and colour scheme contribute to the enigma surrounding her character and her behaviour traits.
- Clothing worn by the other detectives is informal
Gesture & expression:
- close-up shots of characters to communicate meaning many are serious, anxious, and fearful, reflecting the dark themes and melancholy aesthetic.
Saga’s passive expression rarely changes, and it is only after the explosion and in the final scenes of this episode where she is confronted with her mother, that she is seen to be disconcerted, confused and afraid.
Iconography & setting:
The settings establish realism and the film noir elements show the typical Scandinavian elements of the cold weather and dark. The Nordic landscape creates a sense of isolation. Many settings create sense of entrapment e.g., corridors and dim lit locations like warehouse crime scene
How media language influences meaning
Technical codes
- Close-ups advance the relationships between characters and establish tension and a dynamic. This is evident in the conversation between Saga and the other characters.
They also show the profile of the character, the opening introduction to Saga in the lift combines both to construct her enigmatic character. - Tracking shots are used to introduce Saga and Hanne, both as powerful women with a job to do and are used to involve the audience as part of the investigative process as they follow the characters.
- Birds Eye shots used to create a sense of cultural verisimilitude establishing a real city in which the characters function, so reinforcing their believability.
- The film noir technique of shooting through windows, or behind obstacles is used, positioning the audience as looking in on the scene or the lives of the characters as an outsider.
The sense of entrapment created by this filming in some cases suggests their isolation or that they have something to hide. E.g., the audience often views Saga from behind glass or another barrier - The post-production editing creates a desaturated colour palette which contributes to the dark, melancholic feel of the programme.
How media language influences meaning
Audio codes
Music: the haunting track used for the credit
sequence foreshadows the slow pace of the programme and creates expectations of the style of programme to follow. The tense music at the start of the episode has intertextual references to the horror genre.
Diegetic sound: the clicking of the crime scene investigator’s cameras at the start establishes generic realism. An action code for the explosion to follow which is then followed by a disconcerting silence.
Dialogue: some of the dialogue is conventional of a crime drama and is related to the investigation and police procedure and as such advances the narrative.
Saga’s dialogue contributes to her idiosyncratic character. She is very literal in her understanding and her responses are refreshingly honest. E.g., when the owner of the site asks her ‘Could you hurry up a bit?’, she replies ‘No’.
How representations may invoke discourses and ideologies and position audiences
positions the audience to look at social groups and issues in different ways, reflecting cultural shifts.
E.g., this episode explores the growing contemporary interest in gender and how it is more fluid and changing than in the past and is a subject for discussion.
- challenges sexist, patriarchal ideas, and values:
o Women are not marginalised; they are active and central to the narrative
o Women are not sexualised
o Women are not portrayed in a domestic role
o The women in the programme challenge
and/or subvert the typical social norms
related to gender behaviour.
The effect of social and cultural context on representations
The effect of historical context on representations
Reps of women
Saga
Saga:
- breaks away from typical rep of detectives. Often compared to flawed detective of fi, noir and could be described as different.
- her clothing, dialogue and relationships with others are minimal. She responds very literally to situations and in conversations which creates humour at times.
- she is repped as a powerful female however has aspects of masculine traits which may suggest how she survives in a patriarchal world. E.g., her stance and walk, she is active, unconcerned about emotions and conventionality (not worried about changing her shirt in office), her clothing (leather trousers, military overcoat and neutral tee)
- her passive expression has become ironic and is shown as a close up within processing info and r/s w colleagues
e.g., Hans suggests that John needs to go home, this confuses Saga who replies, ‘he’s recently divorced and his ex-wife has the kids this week’, illustrating her inability to comprehend anyone who has a life outside of the job. - Saga’s construction allows the programme to explore a character who does not conform to social norms, but in doing so represents a particular under/mis-represented social group.
Saga struggled with social situations like when making small talk w Hanne. She also lacks empathy and does not read into sensitive situations well; she says whatever occurs to her at the time w limited awareness of its appropriateness however she is shown to be vulnerable/afraid at the end of the ep when confronted w her past by her mother.
The effect of social and cultural context on representations
The effect of historical context on representations
Reps of women
Hanne Thomsen
- another strong female character and a positive rep of an older woman who is well- respected, experienced, and good at her job. She is not objectified, her clothing is functional and her grey hair and serious expression aid in constructing her representation.
She exemplifies the cultural differences between Sweden and Denmark and can’t disguise her disdain when interviewing anker wife at the idea of a gender neutral school, describes her as a “bit Swedish” - Lise Anderson is powerful as a middle class, wife of a wealthy businessman, her views are right wing and an opinion leader through her blog showing her views on what constitutes as a family. She teachers her daughters on how to react to violence when bullied.
Rep of men
Whilst Hans is in a hierarchically powerful position, he doesn’t use this in an oppressive way and is understanding and supportive of those who work for him (feminine traits). He has an equal relationship with his partner Lillian who is a strong woman.
- henrik is portrayed as a flawed, vulnerable character w issues
- Henrik cooks and cleans and appears to be nurturing his children, a role usually given to female characters. Lise has a male cleaner, Rikard who fulfils a domestic role.
Theory
Feminist, hooks
- the rep of women largely challenge bell hooks concept of ‘the ideology of domination’, reflecting changing ideologies and engaging in a feminist discourse.
- Saga and Hanne challenge the norm of women in the police force as does Lillian who is the Danish Police Commissioner in Copenhagen.
- reps of family also challenge stereotypes; Saga introduces Hanne to “Hen” as a gender-neutral pronoun reflecting changing attitudes to gender.
- men are repped as less dominant; Hans is gentle and caring, a father figure for Saga, and Henrik is vulnerable and coping with his own demons.
- however, patriarchal domination is reflected in the crime where the victim is a woman with liberal views suggesting that when patriarchy is challenged women are targeted.
Theory
Feminist, van zoonen
- the rep characters reflects the changing roles of men and women in society and challenges typical stereotypes e.g., saga. This reinforces Van Zoonen’s assertion that the meaning of gender varies according to cultural contexts.
- opposite to zoonens claim, women are constructed similar to men; they are active not passive, not objects of male gaze and drive narrative forward.
When Saga takes off her t-shirt, the gaze between Hanne and John is intra-diegetic, in bewilderment at her action, she is not objectified by the camera.
Theory
Gender performativity, Judith butler
identity is performatively constructed and that there is no gender identity behind the expressions of gender
- Through the programme’s inclusion of Helle Anker’s narrative regarding gender identity, a discourse is opened up and debated within the programme focusing on the nature of gender.
- Hanne states regarding Anker, “she was very active in the gender debate, LGBT issues. You know, there’s not gender, only humans”.
- Saga subverts and challenges the accepted social norms regarding gender behaviour. The construction of her character through, for example, clothing, expression, and behaviour, challenges the typical representations of female characters in this genre.
Processes of production, distribution and circulation by organisations, groups, and individuals in a global context
TV is now a global industry and this globalisation has had an impact in:
- the global distribution, able to distribute products worldwide
- Nordic noir has gained popularity and contends audiences are more accepting of subtitles as BBC 4 has begun establishing non English programmes e.g., the killing and bridge
- the BBC four service license states, ‘BBC Four’s primary role is to reflect a range of UK and international arts, music and culture’.
- The Bridge was originally broadcast by SVT in Sweden and DR in Denmark. The settings, cast and crew taken from both countries reflect the economic context in which The Bridge was produced and helped to shape the programme.
- The main distributor was ZDF Enterprises, and The Bridge was distributed to over 150 countries worldwide.
- marketing strats; BBC 4 connote quality, saga in forefront, sarga as troubled anti hero, Swedish/danish setting w iconic imagine of oresund bridge
- international remakes showing its success e.g., the Anglo/French production The Tunnel and the US version The Bridge set on the US Mexican border and produced by the FX network.
The significance of economic factors to media industries and their products
- with the increase in,y global nature of tv there is also a rise in number of international co-productions, these are attractive as the collab means that economic responsibility can be shared and the more contributors, the bigger budget
- The way in which a programme is funded can influence production, e.g., to qualify for funding production companies usually have to guarantee that they will film in a particular location, employ crew members from a particular country (both Swedish and Danish crews were employed in the production of The Bridge) and work in collaboration with other international companies.
- co-produced by Filmlance International, an independent Swedish production company and by the Danish company Nimbus Film. It also received financial support from European public service broadcasters.
- 3rd season received funding from: Copenhagen film fund, resulted in more danish few members being employed.
€1 million grant was received from Creative Europe MEDIA to help support and maintain the programmes high production values.
Theory
Cultural industries, hesmondhalgh
- vertical integration. The Bridge was a Swedish/Danish co- production, received funding from several production companies and was distributed globally by ZDF Enterprises (a subsidiary of ZDF, Germany’s national public television broadcaster).
- BBC also format their cultural products, where audiences can anticipate what to expect from new products through, for example familiarity with genre conventions, then the risk in minimised. In the UK, the bridge was part of the Nordic noir branding, trailers employed the marketing strat of routing together programmes under this new brand, describing ‘A world of flawed heroes and dark criminal minds’
- This enabled audiences to anticipate what to expect and used inheritance from previous examples of the genre to maximise audiences. Whilst containing an enigmatic narratives and complex, challenging characters, The Bridge also contains typical codes and conventions of a crime drama.
Once the programme was established, the marketing materials used the recognisable characters, setting and iconic opening soundtrack to engage with audiences.
How media products target, attract, reach, address and potentially construct audiences
- The programme attracts the more niche, less
mainstream BBC Four audience who are targeted through their expectations based on the brand identity of the channel. - The programme may attract an inherited audience who will be familiar with other Nordic Noir dramas broadcast on this channel, for example The Killing
- The Bridge also offers a range of pleasures for the fans of crime drama (Uses and Gratifications theory), the programme has typical codes and conventions of crime dramas but an element of escapism and diversion through the different characters, setting and culture. Audiences will gain pleasure from following the investigators as they attempt to solve the crime.
- Loyal audiences will have become familiar with the character of Saga, this is the start of Series 3 and they will have expectations of how her character will behave and may develop based on the other series.
The way in which different audience interpretations
reflect social cultural and historical circumstances
- different nationalities as programme constructs an idea of cultural differences between sweden and denmark, e.g., the swedish characters are seen to be more politically correct than the danish. Some audiences may feel this is unfair cultural stereotyping.
- Cultural capital, e.g., an understanding of the conventions of film noir / other Nordic Noir dramas will enhance the viewing experience of the audience.
- Gender, for example women may be empowered by the construction of positive female representations in The Bridge.
- Audiences who are interested in crime dramas that offer a different cultural experience are likely to have a positive response to the programme.
theory
reception, stuart hall
- some audiences may accept producers intended meaning, to offer typical conventions of crime drama whilst offering sum different through character of saga and Scandinavian setting. viewers will be entertained by programme through complex narrative & intertextual refs to film noir.
- feminist audiences are likely to feel empowered by the inclusion of strong, powerful women in the storyline, by the rep of a lesbian relationship and the narrative addressing gender issues.
- negotiated: may enjoy the typical codes & conventions of a crime drama but feel more uncomfy with the specific focus of the narrative. Swedish & Danish audiences may engage with the drama but feel that the cultural depictions are stereotypical.
- oppositional: may struggle to find Saga a sympathetic character. may view her behaviour traits with concern or find it
difficult to connect to her emotionally as her
responses are so different to expectations and she lacks humour.
A more conservative audience may respond negatively to the Swedish liberal attitudes to sex, gender, and political correctness.
social & cultural contexts
- reflects changing attitudes towards gender and introduces a discourse into narrative around gender, identity and LGBTQ issues.
- rep of gender is influenced by changing social and cultural attitudes regarding role of women in society
- binary opp of swedish and danish cultures highlights how issues may be treated diff in diff cultures
historical context
- The reps constructed in the programme are affected by the historical context, they subvert and challenge typical reps that have been accepted over time and in doing so reflect the society of the time
economic context
- demonstrates the economic advantages of international co-productions.
- creation of the Nordic Noir brand meant
that programmes could be successfully
marketed globally. - establishing the codes and conventions of
this style of programme builds a loyal
fanbase and reduces the economic risk.
