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The global popularity of Nordic Noir, such as the Danish/Swedish production  Broen , The Danish production  Forbrydelsen , its U.S. and U.K. remakes, the Danish/Swedish production  The Millennium Trilogy  seems to depend on its insistent interest in a set of maladjusted female detectives. The by now seven seasons of the U.S production  Homeland  have a similar focus. In this essay, we argue that the struggle these female protagonists endure between extreme potency on the one hand and shameful psychic problems on the other is linked to how these female detectives represent the female position in film in general. Turning to traditional and ongoing discussions in feminist film theory, and combining queer studies and sociological and psychoanalytic perspectives with recognition theory (Felski/Coplan), we ask how we as spectators relate to these women in terms of recognition. In line with that, we ask whether these female detectives should be considered feminist icons who challenge traditional gendered poses on film, or whether, due to their dysfunctionalities, they came to represent some kind of otherness that we sympathize with but also fail to identify with.

european journal of scandinavian studies

The female detective as the child who needs to know. Saga Norén as an example of potent yet dysfunctional female detectives in contemporary Nordic Noir