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AINAMO-MCDONALD, Maria, “Sorjonen – uusi kotimainen rikossarja (Sorjonen - a new domestic crime series)’, Yle, 23 August 2016, https://yle.fi/aihe/artikkeli/2016/08/23/sorjonen-uusi-kotimainen-rikossarja-alkaa-lokakuussa-ykkosella.
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Gurova, Olga, RATILAINEN, Saara Maria, “From Shuttle Traders to Middle-Class Consumers: Russian Tourists in Finnish Newspaper Discourse between the Years 1990-2014”, Scandinavian Journal of Hospitality and Tourism Vol. 16, No. 1, 2016, p. 51-65.
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Hassler-Forest, Dan, Science Fiction, Fantasy, and Politics: Transmedia World-building Beyond Capitalism, Lanham, MD, Rowman & Littlefield, 2016.
Joenniemi, Pertti, “Finland: Always a Borderland?”, in Bordering the Baltic: Scandinavian Boundary-drawing Processes, 1900-2000, ed. Madeleine Hurd, Berlin, LIT Verlag, 2010, p. 41-68.
Jukarainen, Pirjo, “Norden is Dead — Long Live the Eastwards Faced Euro-North Geopolitical Re-making of Norden in a Nordic Journal”, Cooperation and Conflict Vol. 34, No. 4, 1999, p. 355-382.
Juntunen, Tapio, “Helsinki Syndrome: The Parachronistic Renaissance of Finlandization in International Politics”, New Perspectives Vol. 25, No. 1, 2017, p. 55-83.
Lawrence, Andy, “Malmö in the Footsteps of The Bridge”, Scan Magazine No. 81, 2015, p. 130-131.
Lulle, Aija, “Revitalising Borders: Memory, Mobility and Materiality in a Latvian-Russian Border Region”, Culture Unbound: Journal of Current Cultural Research Vol. 8, No. 1, 2016, p. 43-61.
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Martin, Niall, Iain Sinclair: Noise, Neoliberalism and the Matter of London, New York, Bloomsbury Publishing, 2015.
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Wolf, Mark J. P., Building Imaginary Worlds: The Theory and History of Subcreation, New York and London, Routledge, 2012.
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Notes
For a period of time, Finland was the only EU country to share a border with the Russian Federation, giving it a singular position within the trade bloc. See Anssi Paasi, “Boundaries as Social Practice and Discourse: The Finnish‐Russian Border”, Regional Studies Vol. 33, No. 7, 1999, p. 669-680.
Sean Carter, “Geopolitics and the Screen: War, the Body and Violence”, Geopolitics Vol. 14, No. 4, 2009, p. 756-763; Robert A. Saunders, Popular Geopolitics and Nation Branding in the Post-Soviet Realm, London and New York, Routledge, 2017b; Anna Estera Mrozewicz, Beyond Eastern Noir: Reimaging Russia and Eastern Europe in Nordic Cinemas, Edinburgh, Edinburgh University Press, 2018.
Robert A. Saunders, “Small Screen IR: A Tentative Typology of Geopolitical Television”, Geopolitics Vol. 24, No. 3, 2019b, p. 691-727.
Robert A. Saunders, “A Dark Imaginarium: The Bridge, Malmö, and the Making of a ‘Non-Existent’ Place”, Journal of Urban Cultural Studies Vol. 4, No. 3, 2017a, p. 361-385.
Kim Toft Hansen and Anne Marit Waade, Locating Nordic Noir: From Beck to The Bridge, Basingstoke, UK, Palgrave Macmillan, 2017.
Paasi, p. 670.
Mary Mostafanezhad and Roger Norum, “Towards a Geopolitics of Tourism”, Annals of Tourism Research Vol. 61, 2016, p. 226.
Sukanta Das, “Introduction”, in Border, Globalization and Identity, ed. Sukanta Das, Sanatan Bhowal and Sisodhara Syangbo, Cambridge, Cambridge Scholars Publishing, 2018, p. 1-11.
See Mark J. P. Wolf, Building Imaginary Worlds: The Theory and History of Subcreation, New York and London, Routledge, 2012.
I took an individual excursion on 18 June 2018. My guide informed me that I was the first guest to request an English-language tour as all previously conducted tours had either been in Finnish or Russian.
Jamie Gillen and Mary Mostafanezhad, “Geopolitical Encounters of Tourism: A Conceptual Approach”, Annals of Tourism Research Vol. 75, 2019, p. 70–78.
Derek Gregory, Geographical Imaginations, Cambridge, MA, Wiley-Blackwell, 1994; Stephen Daniels, “Geographical Imagination”, Transactions of the Institute of British Geographers Vol. 36, No. 2, 2011, p. 182–187; Paul Smethurst, “The Geocritical Imagination”, English Language Notes Vol. 52, No. 1, 2014, p. 175-186.
Arnold van Gennep, The Rites of Passage, Chicago, University of Chicago Press, 1960 [1909]; Bjørn Thomassen, Liminality and the Modern: Living through the In-between, Farnham and Burlington, Ashgate, 2014; Hazel Andrews and Les Roberts, “Liminality”, in International Encyclopedia of the Social & Behavioral Sciences, ed. James D. Wright, Oxford, Elsevier, 2015, p. 131-137.
Saunders, 2017b, p. 1.
Paasi, art. cit.
Pertti Joenniemi, “Finland: Always a Borderland?”, in Bordering the Baltic: Scandinavian Boundary-drawing Processes, 1900-2000, ed. Madeleine Hurd, Berlin, LIT Verlag, 2010, p. 41.
Finns speak a language within the Baltic-Finnic subgroup of the Uralic language family, being most closely related to Estonian, but also tied to a number of less-spoken tongues native to north-eastern Russia. Distant links to Hungarian, Sami, and the indigenous languages of northern Siberia also exist.
Pirjo Jukarainen, “Norden is Dead — Long Live the Eastwards Faced Euro-North Geopolitical Re-making of Norden in a Nordic Journal”, Cooperation and Conflict Vol. 34, No. 4, 1999, p. 355-382.
Paasi, p. 671.
Juhana Aunesluoma, “A Nordic Country with East European Problems: British Views on Post-War Finland, 1944–1948”, Scandinavian Journal of History Vol. 37, No. 2, 2012, p. 230-245.
Tapio Juntunen, “Helsinki Syndrome: The Parachronistic Renaissance of Finlandization in International Politics”, New Perspectives Vol. 25, No. 1, 2017, p. 55-83.
John P. Vloyantes, Silk Glove Hegemony: Finnish-Soviet Relations, 1944-1974: A Case Study of the Theory of the Soft Sphere of Influence, Kent, Ohio, Kent State University Press, 1975. Unlike the Soviet “satellite” states within the Warsaw Treaty Organisation, Helsinki maintained full control over its internal policies, including a market economy-cum-welfare state that mirrored developments in the west (i.e. Scandinavia).
This position stands in contrast to Sweden, which came to see itself under a de facto-if-not-de jure NATO security umbrella during the Cold War (an orientation that Finland similarly adopted since the dissolution of the USSR in late 1991 yoking its status to its western neighbour and former imperial overlord).
Finland occupies about 0.07 per cent of the world’s area with a similar percentage in terms of population.
Admittedly, Swedish-speakers represent a significant portion of the population (5.2%); however, they are a well-integrated community, and one which enjoys substantive rights associated with the language and identity.
“Finland among the Best in the World”, Statistics Finland, December 5th, 2018, http://www.stat.fi/tup/satavuotias-suomi/suomi-maailman-karjessa_en.html, consulted May 23rd, 2020.
This refers not only incoming Russian tourists, but also outgoing EU citizens. Lappeenranta is one of the few places in the union where tourists can enter the Russian Federation without a visa, due to daily boat tours to Vyborg (the Finnish capital Helsinki is another).
Robert A. Saunders, “The Geopolitics of Russophonia: The Problems and Prospects of Post-Soviet ‘Global Russian’”, Globality Studies Journal No. 40, 2014, p. 1-22.
A figment of the series, SECRI is a special, limited-term project that works directly with Europol, focussed on preventing and investigating serious crime in the Finnish-Russian border region.
Despite often being conflated with “Scandinavia” in everyday (Anglophone) geographic understanding, Finland is distinct due to its aforementioned ethno-linguistic constitution and predominantly mainland location. However, the country is firmly situated within the geopolitical continuum of Nordic Europe (or Norden as it is known within the region), thus forming the eastern fringe of a group of states that includes Sweden, Denmark, Norway, and Iceland.
Lisa Coulthard, “The Listening Detective: Thinking Music, Gender, and Transnational Crime’s Affective Turn”, Television & New Media Vol. 19, No. 6, 2018, p. 553-568.
Once again, Bordertown departs from the classic Nordic noir modus in that each series consists of multiple meta-crimes, with each solved over two or three episodes, thus establishing a liminal space between the American one-and-done CSI: Crime Scene Investigation model and the season-length unravelling of a crime spree that defines the previously-referenced series from northern Europe.
This gendered dynamic stands in contrast to The Bridge, where an emotional, rule-breaking (male) Dane is paired with a Swedish (female) officer who slavishly follows protocol and lacks empathy; yet, there are strong similarities with the detective pairing of a quiet and careful Swedish-Sami man with a French-Berber woman who plays it fast-and-loose in Midnight Sun.
Harmony Siganporia and Frank G. Karioris, “Rupture and Exile: Permanent Liminality in Spaces for Movement and Abandonment”, Culture Unbound, Vol. 8, 2016, p. 20-25.
Rahman Mirka and Miikko Oikkonen, “Official Tour of the Shooting Locations of the Bordertown TV Series”, 2018.
David Wharton, “Netflix’s ‘Bordertown’ Blends Crime and Family Drama into a Stylish, Satisfying Whole”, Daily Dot, 6 April 2017, https://www.dailydot.com/upstream/bordertown-netflix-review/, consulted May 23rd, 2020.
Maria Ainamo-McDonald, “Sorjonen – uusi kotimainen rikossarja (Sorjonen - a new domestic crime series)”, Yle, 23 Aug. 2016, https://yle.fi/aihe/artikkeli/2016/08/23/sorjonen-uusi-kotimainen-rikossarja-alkaa-lokakuussa-ykkosella, consulted May 23rd, 2020.
William R. Shirer, Boris N. Konrad, Nils C. J. Muller, Isabella Wagner, Guillén Fernández, Michael Czisch, Michael D. Greicius, and Martin Dresler, “Mnemonic Training Reshapes Brain Networks to Support Superior Memory”, Neuron Vol. 93, No. 5, 2017, p. 1227–1235.
Contra the standard analysis of Sorjonen as a Nordic replica of the world’s most famous detective, Kari tends towards silence, especially when in deep thought. While Holmes and many of the male detectives in crime dramas talk through their investigations, Sorjonen more resembles the (feminine) “listening detective” rather than the (masculine) “sonic forensic scientist” (Lisa Coulthard, “The Listening Detective: Thinking Music, Gender, and Transnational Crime’s Affective Turn”, Television & New Media Vol. 19, No. 6, 2018, p. 553-568). That being stated, “sitting in silence” is a national trait of the Finns (Laura Studarus, “How the Finnish Survive without Small Talk”, BBC, 16 Nov. 2018, http://www.bbc.com/travel/story/20181016-how-the-finnish-survive-without-small-talk, consulted May 23rd, 2020), and thus represents an explicit way to distinguish Kari from his partner Lena in the series.
Niall Martin, Iain Sinclair: Noise, Neoliberalism and the Matter of London, New York, Bloomsbury Publishing, 2015, p. 17.
According to VisitLappeenranta, 1.7 million tourists came to the city and the wider South Karelia region in 2017 (the second-most popular destination after Helsinki-Uusimaa Region), https://visitlappeenranta.fi/en, consulted May 23rd, 2020; the vast majority of these visitors are Russians coming to the area for shopping trips (see Olga Gurova and Saara Maria Ratilainen, “From Shuttle Traders to Middle-Class Consumers: Russian Tourists in Finnish Newspaper Discourse between the Years 1990-2014”, Scandinavian Journal of Hospitality and Tourism Vol. 16, No. 1, 2016, p. 51-65.
Many of the actors in Bordertown attempt to affect some sort of Karelian provenance in their spoken Finnish; however, the Lappeenranta locals have been rather vocal about the failure of these attempts at linguistic authenticity (Mirka and Oikkonen, op. cit.).
David Wharton, art. cit.
The cemetery features in Series 1 when an explosion at Original Sokos Hotel Lappee (which faces the Town Hall) sends body parts flying across the parking lot, coming to rest atop the graves.
“Sorjonen's Lappeenranta - The Bordertown: Bordertown Filming Locations Tour”, VisitLappeenranta, 2017, https://visitlappeenranta.fi/en/Experience/SORJONEN%E2%80%99S-LAPPEENRANTA-%E2%80%93-The-Bordertown, consulted May 23rd, 2020.
Mirka and Oikkonen, op. cit.
Toft Hansen and Waade, op. cit.
In doing so, Bordertown follows Wallander and the Swedish-French series Midnight Sun in establishing a new sub-genre of Nordic noir that is bathed in light of the world, just as it revels in darkness of Man.
Mirka and Oikkonen, op. cit.
Hilda Roderick, and Ellis Davidson, Myths and Symbols in Pagan Europe: Early Scandinavian and Celtic Religions, Syracuse, Syracuse University Press, 1988; Jane Coslow, and Arja Rosenholm (eds.), Meanings and Values of Water in Russian Culture, London and New York, Routledge, 2016; Marie-Claire Anne Beaulieu, The Sea as a Two-Way Passage between Life and Death in Greek Mythology, PhD dissertation, Austin, University of Texas, 2008.
J. A. McCullough, “Light and Darkness”, in Encyclopædia of Religion and Ethics: Life and Death, ed. James Hastings, John Alexander Selbie and Louis Herbert Gray, Edinburgh, T. & T. Clark, 1916, p. 48.
Brady Hammond, “The Shoreline in the Sea: Liminal Spaces in the Films of James Cameron”, Continuum: Journal of Media & Cultural Studies Vol. 27, No. 5, 2013, p. 693.
As the tour points out, the first murder investigation in the series begins with a drowned body in Lake Saimaa, in the second case, Sorjonen’s daughter almost drowns in a spa pool, the “Woman in the Lake” finds a parallel via a murder in the Neva River in neighbouring Russia, and the final case of the first series begins on a sailboat in the middle of Lake Saimaa (Mirka and Oikkonen, op. cit.).
Robert A. Saunders, “Geopolitical Television at the (B)order: Liminality, Global Politics, and World-Building in The Bridge”, Social & Cultural Geography Vol. 20, No. 7, 2019a, p. 988.
Mirka and Oikkonen, op. cit.
Emma Cocker, “Border Crossing: Practices for Beating the Bounds”, in Liminal Landscapes: Travel, Experience and Spaces In-between, ed. Hazel Andrews and Les Roberts, London and New York, Routledge, 2012, p. 55.
Aija Lulle, “Revitalising Borders: Memory, Mobility and Materiality in a Latvian-Russian Border Region”, Culture Unbound: Journal of Current Cultural Research Vol. 8, No. 1, 2016, p. 48.
Gillen and Mostafanezhad, p. 70.
David Shim, “Between the International and the Everyday: Geopolitics and Imaginaries of Home”, International Studies Review Vol. 18, No. 4, 2016, p. 597-613.
Gillen and Mostafanezhad, p. 70.
Christine Lundberg, Vassilios Ziakas, and Nigel Morgan, “Conceptualising On-Screen Tourism Destination Development”, Tourist Studies Vol. 18, No. 1, 2018, p. 83–104.
Andy Lawrence, “Malmö in the Footsteps of The Bridge”, Scan Magazine No. 81, 2015, p. 130-131; Anne Marit Waade, “Nordic Noir Tourism and Television Landscapes: In the Footsteps of Kurt Wallander and Saga Norén”, Scandinavica Vol. 55, No. 1, 2016, p. 41-65; Robert Saunders, 2017a, art. cit.
Mirka and Oikkonen, op. cit.
Lulle, art. cit.
Aunesluoma, art. cit.
Mikheil Saakashvili, “Russia’s Next Land Grab Won’t Be in an Ex-Soviet State. It Will Be in Europe”, Foreign Policy, March 15th, 2019, https://foreignpolicy.com/2019/03/15/russias-next-land-grab-wont-be-in-an-ex-soviet-state-it-will-be-in-europe-putin-saakashvili-sweden-finland-arctic-northern-sea-route-baltics-nato/, consulted May 23rd, 2020.
Neither of these Nordic countries are parties to NATO; however, the pact’s military doctrine has long been interpreted in such a way that a Soviet/Russian invasion of either state would be treated as an action so provocative that it would trigger a response akin to the invasion of a member-state; however, US President Donald Trump’s open dismissal of NATO as an obsolete entity has recently put this assumption into question. Regardless, Finland represents the EU country most able to defend its territorial integrity by effectively eschewing the post-Cold War “peace dividend” that characterised most European states’ downgraded defence spending. See Jyri Raitasalo, “Scandinavia Won’t Be Russia’s Next Target”, Foreign Policy, March 27th, 2019, https://foreignpolicy.com/2019/03/27/scandinavia-wont-be-russias-next-target-putin-nato-finland-sweden-defense-saakashvili-georgia/, consulted May 23rd, 2020.
Anna Estera Mrozewicz, Beyond Eastern Noir: Reimaging Russia and Eastern Europe in Nordic Cinemas, Edinburgh, Edinburgh University Press, 2018, p. 72.
I draw inspiration here from Arjun Appadurai (Modernity at Large: Cultural Dimensions of Globalization, Minneapolis, University of Minnesota Press, 1996), aiming to push his concept of the mediascape somewhat further in terms of the application of other “scapes” which are intermeshed in multivalent and evolving forms of modernity. As I have explored elsewhere (Saunders, 2019a, art. cit.), The Bridge and its adaptations exemplify the intertwining of border zones through characters, events, sites, and flows.
Maria Mälksoo, “Liminality and the Politics of the Transitional”, in Handbook of Political Anthropology, ed. Harald Wydra and Bjorn Thomassen, Cheltenham, Edward Elgar Publishing, 2018, p. 145-159.
Lulle, art. cit.
Jamaluddin Aziz, Transgressing Women: Space and The Body in Contemporary Noir Thrillers, Cambridge, Cambridge Scholars Publishing, 2012.
Coulthard, p. 555.
Mirka and Oikkonen, op. cit.
Interestingly, my tour guide Rahman Mirka appeared as the Chairman of the City Board in an episode of the series, thus linking representation, reality, and tourism.
Mirka and Oikkonen, op. cit.
Wolf, op. cit.; Babette B. Tischleder, “Thickening Seriality: A Chronotopic View of World Building in Contemporary Television Narrative”, Velvet Light Trap: A Critical Journal of Film & Television No. 79, 2017, p. 120-125.
Jürgen Habermas, Theory of Communicative Action, Volume Two: Lifeworld and System: A Critique of Functionalist Reason, translated by Thomas A. McCarthy, Boston, Beacon Press, 1987 [1981]; Eva Redvall, Pia Majbritt Jensen, and Anne Marit Waade (eds.), Danish Television Drama: Global Lessons from a Small Nation, Gothenburg, Nordicom, 2020.
Dan Hassler-Forest, Science Fiction, Fantasy, and Politics: Transmedia World-building Beyond Capitalism, Lanham, MD, Rowman & Littlefield, 2016.
Jutta Weldes and Christina Rowley, “So, How Does Popular Culture Relate to World Politics?” in Popular Culture and World Politics: Theories, Methods, Pedagogies, ed. Federica Caso and Caitlin Hamilton, Bristol, E-International Relations Publishing, 2015, p. 11-34.
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