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The 1980s not only saw an increase in the number of crime films in Norway, the criminal investigator also made his comeback after being more or less absent throughout the post-war period. Just as with the dominant trend internationally, the criminal investigator was an outsider, a man
of yesteryear that the changing times had left behind. As society was in transition, with the destabilization of family structure, an increase in immigration from the south and the rise of the yuppie culture and its aftermath, criminal cases also changed. In short, the criminal investigator
seemed unfit to meet the demands of a new age. Twenty years later, the criminal investigator appears to be more at ease with himself, although he is still very much an outsider, and the crimes investigated have well-known causes. As a result, Norwegian crime films no longer seem to impart
any implicit politically charged critique.
The Journal of Scandinavian Cinema is a new scholarly journal devoted to film in the Scandinavian countries. It aims to become the prime site for excellent research and engaging discussions on cinema in Scandinavia, both within the national context of Denmark, Finland, Iceland, Norway and Sweden, and as a region existing in a globalized world.