Abstract
The chapter places Nordic Noir in a transnational network of film and television characterized by a special emphasis on introspective subjectivity, melodramatic pathos, the emotional experience of crime, links with local/global social contexts, and a realist aesthetics. It explores the similarities that connect the two versions of Wallander (2005–2013, SE; 2008–2016, UK), Tinker Tailor Soldier Spy (2011, UK) The Americans (2013–, USA), Politist, adjectiv (2009, RO), and Mar de plástico (2015–2016, SP), arguing that they represent a transnational phenomenon that has crystallized around an emotional investment in realism and a wave of crime fiction marked by its social content. This phenomenon, called the Introspective Realist Crime Film, has gained visibility at a time defined by the rise of new global social movements that demand a new public ethics and vindicate human rights as a new social contract.
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García-Mainar, L.M. (2020). Nordic Noir: The Broad Picture. In: Badley, L., Nestingen, A., Seppälä, J. (eds) Nordic Noir, Adaptation, Appropriation. Palgrave Studies in Adaptation and Visual Culture. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-38658-0_9
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