The Bridge Women

Often TV women’s incapability to ‘have it all’ suggest that women can be self-reliant and have a successful career but they will not be able to hold their lives together outside of work. Nordic Noir’s female detectives frequently do not have everything under control, but this is presented as a consequence to their identity as a detective and work-related circumstances, rather then their identity as a woman. Amy Taubin suggests that earlier texts like Prime Suspect convey a message that women are “forced to choose between work and a love-affair and that, since she’s already middle-aged, may well be her last” (Taubin, 1992). Many postfeminist texts convey an uncertainty about the existing options for women in contemporary (Western) societies. It suggests that “women’s lives are regularly conceived of as time starved; women themselves are overworked, rushed, harassed, subject to their ‘biological clocks,’ and so on to such a degree that female adulthood is defined as a state of chronic temporal crisis” (Tasker & Negra, Introduction: Feminist Politics and Postfeminist Culture, 2007, p. 10). …show more content…
and Mexican version), and even though it is a young girl in the final season of The Killing that is kidnapped, there is never a obvious connection made between the crime and her gender as it centres around the economic premises. Where a lot of postfeminist texts might popularize a feminism it simultaneously evokes and rejects (Tasker & Negra, Introduction: Feminist Politics and Postfeminist Culture, 2007, p. 21), the Nordic Noir genre seems to embrace it in such matter – with ignoring the limitations – that any other understanding of gender politics seems irrelevant. This draws upon a comparative text between past and present femininities, in which Nordic Noir seems more direct in its celebration of postfeminism and the founding that gender equality