Political Undertones in Nordic Noir

Political Undertones in Nordic Noir

I’m becoming more and more convinced that «the right» should focus effort into creating political art. “The right” here meaning all the various movements opposed to the current civilizational suicide of the West, ranging from the Alt-Right, New Right to libertarians and non-establishment conservatives. Our opponents have understood the importance of art for a long time. Only recently did I come across the truth in the sentiment “politics is downstream from culture”. Art has enormous power in creating and moving the Overton window and framing what is acceptable opinion.

It is in fact the primary reason why I sympathised with leftist viewpoints as a child and teenager. My surroundings in Norway were dominated by media created and controlled by leftists, newspapers filled with left-leaning journalists and political parties to the left. The main “rightwing/conservative” party in Norway has compared themselves to the American Democrats. Anything to the right of them is automatically “far right” or “far right extremism”.

Most of the political undertones are subtle, but increasingly we find overt, on the surface political messaging in mainstream crime dramas. The “Nordic Noir” genre is very popular domestically in the Scandinavian countries, and is attracting a healthy following in other countries. I want to present a few case studies. Stieg Larsson’s Millennium series of books is a critique of the so-called “patriarchy” veiled in a crime drama spritzed with murder and violence.

As far as mainstream art goes, it has been shown on television and is well known. That its themes and message fits into the mainstream politically correct feminist narrative hasn’t hurt its popularity. Had the genders been reversed, it would at best have been a fringe cult classic. At the core of Nordic Noir is the gritty connection to reality. It is rarely fantastical, looking over news clippings from recent years snippets of real cases can be found in the fictional works within the genre.

Thus, there exists a blurring of the line between fiction and reality in the minds of most viewers/readers. The works of fiction are affecting people’s perception of reality. Another work I’ve watched is the Swedish show Blue Eyes. In it a right-wing extremist terrorist network attacks the Swedish Stock Exchange. They are also portrayed as anti-Semitic. It struck me after watching the show that the terrorists were in a sense “politically correct”.

It is politically correct to have terrorists with sympathies on the right and that are anti-Semitic. Anti-Semitism and right-wing views are acceptable portrayals of evil. That the terrorists were not chosen to be portrayed as radical Islamic terrorists is quite telling. Certainly for a genre so closely linked to reality it says a lot about the creative class in our societies that they made these creative choices. You certainly can’t draw a greater conclusion from only a few data points. But in the works I’ve seen there definitely seems to be a trend.

When evil loser Breivik committed the horrific acts on 22/7 2011 it fit into the narrative created by the left. Looking back, I’m surprised that it happened in Norway and not in Sweden. Sweden as a country has a narrower Overton window and is noticeably more politically correct than neighbouring Norway. This is pure speculation, but I think that the expressions of right-wing evil in fiction is an expression of a deep-seated yearning in leftists for more cases of real world acts of violence. It would fit so well into their worldview. I’m not saying that they want violent acts by political opponents to take place, but the psychological sentiment might be there.

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