This weekend, specifically on November 25th, marks an important milestone: it completes a decade since the release of Frozen (Chris Buck and Jennifer Lee, 2013). Contrary to what the title suggests, it became an instant sensation among audiences and critics, a product across various sectors. It changed a generation of children with more confidence and power; it encourage them to speak out.
The audience was immediately captivated by the historic achievements of Frozen, with Jennifer Lee becoming the first female winner in the Academy Award for Best Animated Feature in 2014. It boasts a list of pioneering elements: the first Disney queen, a princess without a prince and sorority instead, challenging the classic trope of "love at first sight," and introducing realistic and relatable characterizations. Princess Anna breaks stereotypes with her antiheroic traits-glutton, lies, lazy and clumsy-, while Elsa's character explores traumas, anxiety and rebellion. Even Christopher's mundane job subtly critiques the capitalist system and challenges traditional toxic masculinity.
Over the past decade, Frozen has been subject to various interpretations. It's essential to note that the film is loosely based on Hans Christian Andersen's The Snow Queen. Visually, parallels can be drawn with Cinderella and Beauty and the Beast, and historically with the Witch Hunt and British Royal Family, as well as geographically with Mont-Saint Michel in France and the Northern lights. The narrative can be seen as Elsa's journey of self-love, self-discovery, and confidence, with her powers serving as a metaphor for menstruation, repressed homosexuality, or even disability. All three interpretations are valid and challenge traditional norms and scare the white cisgender straight non-disable males.
In Disney's Frozen, Frode Fjellheim's Eatnemen Vuelie, featured at the opening and closing, is inspired by Norwegian culture. The trolls can be interpreted as symbolic representations of ancestral and cultural elements. These creatures are portrayed as wise and benevolent, offering guidance and support to the main characters, establishing a connection to their past and heritage while imparting wisdom.
Over the past decade, Frozen quickly earned the status of a neo-classic, but it hasn't aged like fine wine. Accusations of queercoding surround Elsa's arc and Oaken. While the coronation scenes showcase physical biotype diversity, they are limited by heteronormativity and white dominance. The film's portrayal of female empowerment is questionable. Elsa's "Let it Go" is powerful, but her movements suggest sensuality. The white hair as part of her curse can be interpreted as anti-ageism. Anna is active in various challenges but remains partially a damsel in distress. Lastly, the film presents a problematic concept of love, exemplified by Olaf's speech: "Love is putting someone else's needs before yours."
When it comes to children and media, caution is crucial. Psychologist Albert Bandura's 1960s experiment with a Bobo doll highlighted how children learn behaviour through observation, emphasizing the impact of media on young audiences, especially in a media-driven society of the contemporary age. However, Disney retains its sacred place in childhood memories in Western society.
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