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Home , Adriana Caselotti, Barry Cook, Byron Howard, Chris Buck, Clyde Geronimi, Disney Renaissance

It’s a Hollywood blockbuster that is set to become one of the most successful and beloved family films ever made. And unlike much of Disney’s past output, writes MICHELLE LAW, this film brings positive, progressive messages about gender and difference into the hearts and minds of children everywhere.

SISTERS DOIN’ IT FOR THEMSELVES and the Evolution

Screen Education of the Disney Heroine I No. 74 ©ATOM

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SISTERS DOIN’ IT FOR THEMSELVES No. 74 I Screen Education

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Education Screen 74 No. 18 I S further intoherself despite ’s attempts atreconciliation, and cally atsea, ’s powers become uncontrollable. She withdraws reflection of her inner turmoil. So when the girls’ parents die tragi physical environment freezes and becomes almost uninhabitable, a her powers have intensified; upon experiencing strong emotion, her and the wellbeing ofthose she may come incontact withbecause desperate for human company and conversation. nightmare, and Anna, stalking the empty chambers ofthe castle, lonely: Elsa, aphysical and emotional prisoner inher own private naive Anna. Bothsisters spend their formative years isolated and adolescence toprotect those she loves, particularly the adoring and instructions ofher parents, agrees tobelocked away for most ofher her mind. But Elsa, guided by her own mammoth guilt and the to behealed, Anna’s memories ofElsa’s powers are wiped from incident inwhich Elsa accidentally strikes Anna withice. Inorder and snow. It’s atalent that proves entertaining untilanear-fatal a magic ability that enables her tofreeze objectsand conjure ice close friendship and bond. Elsa, the olderofthe two, is giftedwith and Anna (),two sisters and princesses who share a highlights about gender, love, self-discovery and acceptance? ally exclusive concepts? And what are the messages that Frozen those heroines are princesses? Are princesses and heroines mutu- a fairytale ever betruly progressive initsportrayal ofheroines if conventional fairytale themes, characters and gender roles. But can Frozen es toplay withand astorycentred onthe attainment oftruelove, traditional fairytale onitshead. With castles, princes and princess approach tostorytelling that turns the structure and outcome ofthe their significant life relationships. The film also adoptsa modern attributed toitsprogressive portrayal offemale characters and this generation’s defining feature for children. only continue growing and inevitably secure areputation as one of company from financial ruin.Similarly, the Frozen adopted the structure and style ofBroadway musicals –saved the and (Ron1989) Clements &, 1992) –films that films such as TheLittle Mermaid( &John Musker, period from the late tothe late when iconic animated first was what has come tobeknown as the , the pating the dawn ofthe second Disney animation goldenage. The 2010), Disney’s adaptation ofthe story–many are antici success ofFrozen a soundtrack since Titanic weeks atnumber one onthe US Billboard charts, the most held by printing, the film’s soundtrack has also spent eleven non- the highest-earning Disney-animated filmof all time. At the time of ago, ithas already grossed over US$1 billionworldwide, making it THIS SPREAD, L–R:Anna,Elsa PREVIOUS SPREAD: Elsauseshermagic ability When Elsa enterspuberty, she becomes more fearful ofherself The filmkicks off byintroducing usto Elsa () Among other factors, the success ofFrozen succeeds insimultaneously adhering toand challenging It Go’),and despite being released lessthan sixmonths Animated Feature Film and BestOriginal Song (for ‘Let success. Itwon this year’s for Best met withcritical acclaim and extraordinary box- imated offering, Frozen ince itsUS release inNovember 2013,Disney’s latest an –and (James Cameron, 1997). Following the ( &,

( &), has could arguably be phenomenon will ­ c onsecutive offic ­ e e

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©ATOM the sisters’ relationship becomes unsalvageable. It’s on Coronation ( in ), we see that they all share Day, when Elsa comes of age and becomes queen, that two instances key commonalities. They each fulfil and reinforce the idea that change the course of the sisters’ lives and relationship. princesses are beautiful, flawless, feminine, romantic and very Anna meets and immediately becomes engaged to her ‘true naive individuals. And despite being the protagonists and driv- love’, (), a charming and understanding ing forces in each of their stories, they are ultimately victims who prince from a neighbouring kingdom who offers Anna the love must be rescued by their valiant prince and his act of ‘true love’. and companionship that she never received from her sister. And In short, the ‘heroines’ are not necessarily the heroes of their own Elsa, despite her best attempts, loses control over her emotions, stories. They are saved, and there’s a kiss, a wedding and a life lived revealing her magic powers to the entire kingdom. She flees to the happily ever after. However, over time the began mountains, effectively liberating herself but also banishing herself evolving with Jasmine ( in Aladdin) and Belle (Paige from her home, and inadvertently plunges the kingdom into a O’Hara in , & , 1991), harsh and unrelenting winter. It becomes Anna’s mission – and the who are both headstrong female characters who refuse to marry (at mission of several sidekicks she encounters along the way, includ- first) and choose to love someone based on their character rather ing the ice salesman (), the anthropo- than their looks or wealth (and in Belle’s case, we see a princess morphic snowman () and the reindeer – to retrieve with book smarts for the first time). Further along the trajectory we Elsa so they can make amends to end the deadly winter and, more meet (Irene Bedard in Pocahontas, & Eric significantly, repair the sisters’ broken relationship. Goldberg, 1995) and (Ming-Na Wen in Mulan,

Can a fairytale ever be truly progressive in its portrayal of heroines if those heroines are princesses? Are princesses and heroines mutually exclusive concepts?

& , 1998), female protagonists who are self-sufficient THE TRADITIONAL DISNEY PRINCESS and clever, and harbour aspirations greater than just romantic love. However, Pocahontas and Mulan are rarely regarded or marketed If we examine the pantheon of iconic Disney princesses of the as Disney princesses, if at all. They are popular characters, but they past century, including ( in Snow are not princess material (at least in the Disney canon), in part due White and the Seven Dwarfs, William Cottrell et al., 1937), Aurora to their proactive natures and warrior narratives. And, superficially ( in Sleeping Beauty, , 1959), speaking, in Pocahontas and Mulan there are no conventional (Ilene Woods in Cinderella, Clyde Geronimi et al., 1950) and Ariel princes or castles to be seen. No. 74 I ©ATOM Screen Education

19 ELSA AND ANNA: MODERN WOMEN AND GENDER POLITICS IN FROZEN

The Bechdel test is a set of criteria introduced by graphic novel- ist Alison Bechdel that states that a work of fiction, particularly film, must have at least two female characters, that these female characters must talk to each other, and that their conversation(s) must be about something other than a man or men. Frozen, then, a film centred on the familial bond between two sisters, passes the Bechdel test with flying colours – something that can largely be attributed to the influence of and co-director Jennifer Lee, the first ever female director of a feature-length Disney anima- tion. Certainly, the most striking and refreshing thing about Elsa and Anna is that they are three-dimensional, complex women who grow and mature as the film progresses. They are princesses, but they are also human, and therefore possess real and relatable flaws. Elsa is cold, proud and stubborn, and Anna is and socially awkward. They are also, by the film’s denouement, both active, strong and

Certainly, the most striking and refreshing thing about Elsa and Anna is that they are three-dimensional, complex women who grow and mature as the film progresses. They are princesses, but they are also human, and therefore possess real and relatable flaws. Screen Education I No. 74

20 of their own fatesand are proactive intheir own journeys. one. These are all positive messages about women who are incontrol builds her own magnificent castle instead ofbeing whisked away to pursue Elsa herself; and Elsa transforms intoapowerful woman who the kingdom successfully as queen;Anna is fearless and chooses to Kristoff becomes emotional atthe sightofElsa’s ice castle; Elsa rules flipped innumerous instances: Anna chooses to punch Hans herself; dation and scorn, torespect, admiration and love. Gender roles are gradual shift inthe townspeople’s responses toher: from fear, intimi when Elsa chooses toaccept and embrace her trueself, we see the with aself-directed makeover and amore confident, sassy gait. And chooses toembrace her new identity as ,complete towards Elsa’s burgeoning sexuality and womanhood when she power is oftenperceived as threatening. There is also asubtle nod herself and her giftfrom the world, highlighting that awoman with and women’s rights.Elsa is literally locked away and forced tohide about what being ahero means. what leads totheir success, and sends astrong message toaudiences culine’ characteristics while retaining their femininity is arguably doesn’t detract from their appeal; the fact that they possess ‘mas fearless – characteristics typical ofmale heroes orprinces. But this tagonists. titled ‘Rapunzel’, the title offers little clue tothere being female pro Olaf, anasexual character, and why, like Tangled , which was first Frozen great lengths toensure young male viewers aren’t deterred by of being different. (On ademographic note, Disney has gone to relevant tobothboys and girls, particularly identity and the stigma Despite Frozen when she embraces her trueself and lets go ofpeople’s judgements because hiding them is preferable tobeing ostracised. It’s only conceals her powers, which are infact quitebeautiful and special, for her pointofdifference and the fact that she is ‘abnormal’. She OUTSIDER BE YOURSELF: CHAMPIONING THE MARGINALISED Kristoff scale theice;Elsa’sicecastle; AnnaandHans;Oaken theinnkeeper;Duke ofWeselton ABOVE: Anna,Olaf,Kristoff andSvenNEXTSPREAD,CLOCKWISEFROM TOPLEFT:Annaand The film also provides abroader commentary ongender roles , which accounts for why muchofthe marketing centres on 1 ) Elsa is constantly being punished by others and herself being aprincess film,it explores universal themes - - - SS 21 Screen Education I No. 74 NEW & NOTABLE that she develops into a confident and happy person. ‘’ is itself an anthem about forgetting the past and moving towards a freer life, and Elsa’s coming of age reinforces the narrative of the outsider triumphing over adversity.

GOOD VERSUS EVIL

During pre-production, Disney struggled to portray Elsa as any- thing but villainous and vindictive.2 She was evil for no reason and this lent little depth to the story or the characters’ journey. The beau- ty of the final rendering of Elsa is that she is an inherently good person whose life circumstances have led her to act out in harmful ways. Like all of us, she has something to lose, and unintentionally hurts people in an attempt to protect herself. In this way, the film promotes sympathy and forgiveness by showing that being ‘good’ or ‘evil’ isn’t necessarily black and white, and instances of evil can

Even the truly villainous characters, such as the Duke of Weselton and Prince Hans, have reasons behind their misdoings, and when they are thwarted, we pity them and understand what led to their misguided pursuit of power. Screen Education I No. 74

22 www.screeneducation.com.au them and understand what ledtotheir misguided pursuit ofpower. sons behind their misdoings, and when they are thwarted, we pity as the Duke ofWeselton () and Prince Hans, have rea love brings out the best.’ Even the truly villainous characters, such Throw alittle love their way and you’ll bring out their best/True ‘People make bad choices ifthey’re mad orscared orstressed / makers drive this pointhome during the trolls’ song, ‘Fixer Upper’: who is literally freezing todeath afterElsa accidentally strikes ice with Anna) and familial relationships. At the film’s climax, Anna, sent the modern voices ofreason. the Disney princesses ofthe past, whereas Elsa and Kristoff repre- Anna’s idealism quiteself-reflexively mirrors the romanticism of she could commit herself tosomeone she knows nothing about. mocks Anna about her speedy engagement, grilling her about how they meet, Elsa refuses togive them her blessing. Later, Kristoff Conversely, when Anna and Hans become engaged onthe day head over heels for her prince afterawaltz, not aconversation. Snow Whiteis resurrected by astranger’s kiss; and Cinderella falls Eric (Christopher Daniel Barnes) onaship and becomes smitten; a trope commonly employed inDisney princess films: Ariel spies film repeatedly questions the notion of‘love atfirstsight’.This is romance is challenged, oftenquite overtly, intwo ways. Firstly, the and the presence ofKristoff as another romantic interest, but those elements are referenced inHans and Anna’s engagement the pursuit orattainment ofromantic love and marriage. Certainly, Frozen be triggered by mistreatment and misunderstanding. The film CHALLENGING THE CONCEPT OF TRUE LOVE Frozen is the firstDisney princess film that doesn’t revolve around also champions platonic love (such as Olaf’s friendship - - SS 23 Screen Education I No. 74 NEW & NOTABLE

24 Education Screen 74 No. I love but also that it’s not the most important kind.) most as asidenote, reinforces this idea that you can have romantic that Anna and Kristoff end uptogether by the film’s conclusion, al instances oftrue love that already exist intheir own lives. (The fact of love, Frozen showing that romantic love is not the only orthe most valid kind day. There is stilla‘happily ever but it’s after’, not prescriptive. By Ultimately, it’s Anna’s act oflove that resurrects her and saves the makes the selfless decision to sacrifice herself so that Elsa may live. ing decisions: she chooses her sister over aman, and then she or protect Elsa from being slain by Hans), Anna makes two tell- faced with animpossibleKristoff and decisionsave (kiss herself, realises that the act oftruelove mustcome from herself. When . Itis surprising and profoundly moving when Anna into her chest, searches for anact oftruelove that willthaw her encourages audiences toappreciate and search for - that girls can bethe heroines oftheir own stories. ways known but is rarely depictedinprincess and children’s films: princesses that don’t need rescuing, proving what women have al- sacrifice, and Elsa, by being herself. For once, we are presented with and journeys and how girls can save the day –Anna, through her princess means. There is agreater focus on women’s relationships love. But itis not restrictive about what love is and what being a is a‘happily ever Yes, after’. itis aprincess movie. Yes, it’s about that truelove’s kiss willsave Anna, and then itdoesnot. Yes, there of this being Anna’s sacrifice. We jump tothe inevitable conclusion ultimately surprised by the outcome –the most obvious example characters, we are lulled intoafalse sense ofexpectation, but are in subtle ways. By drawing audiences inwithfamiliar tropes and tions ofthe Disney-princess genre while also subverting them Frozen strikes adifficult balance in adhering to the conven-

©ATOM ©ATOM Michelle LawisaBrisbanewriterwhoseworkshaveappearedin Her documentary SuicideandMeairedonABC2 book numerous Australianliteraryjournals.Sheistheco-authorofcomedy up AsianinAustralia, Sh*t AsianMothersSay,andisanAWGIE-winningscreenwriter. Destroying theJoint, Women ofLettersand lastyear.SE Growing 2 1 Endnotes ooks Barnes, ‘Boys Don’t RunAway from These Princesses’, ob Lowman, ‘Unfreezing -the-newest-fairy-tale-in-3d-by-disney>, accessed 6March 2014. -entertainment/20131119/unfreezing-frozen-the-making-of 19 November 2013,, accessed 5March 2014. com/2013/12/02/movies/frozen-disneys-new-fairy-tale-is-no-2 The NewYork Times , 1Decemberhttp://www.nytimes. 2013,< Br R Frozen : The Making ofthe

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