Both detectives, Lund and Norén, resemble the brilliant but solitary and socially dysfunctional detective of the earlier films noirs. Saga Norén might however stand out with her inability to manage interpersonal relationships and to understand human emotion. Norén’s characteristic traits appear as a particular gift for an investigator. Although Norén’s characteristics are typically associated with the Asperger’s syndrome, this condition is never acknowledged by the creator of the series or by the actress Sofia Helin who plays her.
The fact that the series or its creator never acknowledges the diagnosis could arguably be a strong choice regarding the validation of an interesting female character. If the series would recognize her as autistic, …show more content…
He seems to reflect what the audience is thinking. When Norén and Rohde were reunited after a long absence, Rohde says, “Goddamn, it’s been ages” to what Norén flatly responds “Yes, one year and one month”. Once again Norén’s logical approach to anything that could trigger an emotional respond is highlighted. It could however raise a question about how Norén’s analytical presence seems like an attempt of direct masculinization of the female protagonist. It implies that she is good at her job, because her ability to express her emotions is removed. One might say that it seems as if logic and emotions are mutually exclusive and that this dichotomy implies that a female detective who is in touch with her emotions could not be rational too. It reflects the awareness of how women in popular culture are so often associated with emotions, and by muting Norén’s emotions; she is made more (male) …show more content…
Norén is tough and does not hesitate to voice her opinions – often without the tact that Rohde tries to teach her and that is generally expected of women within patriarchal convention. Her unwillingness to lie leads to comedic situations, for example when she has dinner with Rohde and his family, and she responds to Rohde’s question if she would like the recipe with “No, it wasn’t tasty.” In these ways, she is a ‘disruptive spectacle’ and a rather vibrant embodiment of Rowe’s transgressive figure. Norén is not trying to be a good dinner guest and bond with his family over dinner. By her manner of truth telling, she is denying the way in which society might teach one to act and will not forfeit to a commodity of lying to be kind.
Against this background, The Bridge, with Saga Norén, points to the function of the crime narrative where the characters perform a responsibility within the law. Whether one should be allowed to lie in order to protect and enforce the law is touched upon with the interesting dynamic of both Saga Norén and Martin Rohde (abnormal) behaviour. In final, it seems as if Sarah Lund’s disobedience contrasts with Norén’s disciplined
The fact that the series or its creator never acknowledges the diagnosis could arguably be a strong choice regarding the validation of an interesting female character. If the series would recognize her as autistic, …show more content…
He seems to reflect what the audience is thinking. When Norén and Rohde were reunited after a long absence, Rohde says, “Goddamn, it’s been ages” to what Norén flatly responds “Yes, one year and one month”. Once again Norén’s logical approach to anything that could trigger an emotional respond is highlighted. It could however raise a question about how Norén’s analytical presence seems like an attempt of direct masculinization of the female protagonist. It implies that she is good at her job, because her ability to express her emotions is removed. One might say that it seems as if logic and emotions are mutually exclusive and that this dichotomy implies that a female detective who is in touch with her emotions could not be rational too. It reflects the awareness of how women in popular culture are so often associated with emotions, and by muting Norén’s emotions; she is made more (male) …show more content…
Norén is tough and does not hesitate to voice her opinions – often without the tact that Rohde tries to teach her and that is generally expected of women within patriarchal convention. Her unwillingness to lie leads to comedic situations, for example when she has dinner with Rohde and his family, and she responds to Rohde’s question if she would like the recipe with “No, it wasn’t tasty.” In these ways, she is a ‘disruptive spectacle’ and a rather vibrant embodiment of Rowe’s transgressive figure. Norén is not trying to be a good dinner guest and bond with his family over dinner. By her manner of truth telling, she is denying the way in which society might teach one to act and will not forfeit to a commodity of lying to be kind.
Against this background, The Bridge, with Saga Norén, points to the function of the crime narrative where the characters perform a responsibility within the law. Whether one should be allowed to lie in order to protect and enforce the law is touched upon with the interesting dynamic of both Saga Norén and Martin Rohde (abnormal) behaviour. In final, it seems as if Sarah Lund’s disobedience contrasts with Norén’s disciplined