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“Let It Go” Analysis: Empowerment Supersedes Emotional Turmoil

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“Let It Go” Analysis: Empowerment Supersedes Emotional Turmoil “Let It Go” Analysis: Empowerment Supersedes Emotional Turmoil Abstract The media can have a powerful influence in young people’s formation of beliefs, attitudes, and values; in effect, children could be influenced into thinking in a particular way based on the movies or television shows they watch. Representations of topics like race, gender, stereotypes, and roles within media can affect viewer's perspective. Disney is an established media mogul and their most recent internationally popular film, Frozen, shifted the definition of what it meant to be a princess through the characters Elsa and Anna. Using fantasy theme criticism analysis through a lens of Disney’s worldview, the researcher observed themes of emotional turmoil, solitude, acceptance, and empowerment through a close reading of the text used in the song “Let it Go.” Keywords: Disney’s Frozen, fantasy theme criticism, children’s empowerment, individualization, acceptance, princess transformation, children’s identity, Disney Worldview FROZEN ANALYSIS 2 “Let It Go” Analysis: Empowerment Supersedes Emotional Turmoil Frozen is Disney’s newest box office phenomenon with “Let It Go” as the most popular and recognizable song from Disney’s Frozen. It has won several awards, one of which was for Best Original Song in the 86th Academy Awards (Staff, 2014). The YouTube music video has had 800,000,000 views as of June of 2016. The song “Let It Go” is significant because it is so prolific to a majority, if not all, of Americans right now, and especially is having an impact on children. Frozen is, as of 2013, one of the newest Disney princess movie about two princesses, Anna and Elsa, who are sisters. Because of an accident where Elsa and her ice powers endanger Anna, they become distanced when Elsa blames herself for the accident and isolates herself. The rest of the movie occurs later in life when Elsa becomes queen and accidentally sets in motion another ice age within the town with her ice powers, and when Elsa isolates herself in an ice palace in the mountains, Anna must find her and mend their familial bond with the help of her friends Kristoff (human), Olaf (snowman), and Sven (reindeer). The movie ends with Elsa accidentally freezing Anna’s heart with her powers, which the trolls say can only be healed with the power of love. In contrast to other Disney movies, the love that heals Anna is sisterly love as opposed to romantic love. In order to identify why the song “Let it Go” resonates with so many people, this research unpacks the lyrics. Utilizing fantasy-theme criticism analysis, the researcher breaks the lyrics down into the units of settings, characters, and actions. These units emphasize primary categories of emotional turmoil, solitude, acceptance, and empowerment in the song. In order to break FROZEN ANALYSIS 3 down the themes found in the song, analysis includes components of the storyline, the character singing the song, and the combined actions and lyrics. Historical Context and Significance of Frozen Frozen and “Let it Go” demonstrate a shift in the pattern of who is considered a Disney princess and what happily ever after looks like. In the movie, sibling love is triumphant which is in direct opposition to the usual romantic prince/princess love ending. Interestingly enough, the villain of this movie is Hans. Anna and Hans meet during Elsa’s coronation, share the typical Disney love ballad, and announce their intention to wed that day, which prompts Elsa to have just enough anxiety to lose control over her ice powers. Anna leaves Hans, a prince from a neighboring kingdom, in charge while Anna searches for her sister, and Hans begins his nefarious plan. Not only is the villain choice significant—never before has a charming prince been the token villain in a Disney film—but so is the response that Elsa has to Anna and Hans’ wedding announcement. Elsa denies their intention to marry because “you can’t marry someone you just met.” Elsa’s response is historically significant because it embraces a feminist perspective, which is a drastic change from the typical patriarchal overtones of other princess films (Bell, 2014; Garcia, 2014; Hecht, 2011). According to modern American thought, which emphasizes individuality, this new perspective on the princess is an important lesson for young girls to understand that a prince does not need to save the day; rather, American values emphasize establishing independence and self- worth (Hofstede, 2014; Campbell & Kean, 2016). Hofstede, a cultural researcher who compiled thousands of value statistics over a period of fifty years, found that since 2013 Americans significantly value independence and uncertainty reduction (2014). The song “Let it Go,” as with the movie Frozen, also deviates from the typical Disney tunes in that it promotes being authentic FROZEN ANALYSIS 4 and challenges the stereotype of a good girl being self-denying. There are elements of feminist values in the plot focusing on the love between two sisters and not between a prince and a princess. Erin E. Bell writes a review on these historical changes of the developments of the princesses’ personalities throughout the decades. The princesses’ behaviors tie in directly with how women were viewed during the time period of when the movie was released (Bell, 2014). Elsa is a more independent princess compared to the typical princess archetype formed by patriarchal tradition throughout thousands of years. There are qualities considered by most feminists to still be integrated into princess’ personalities—such as passivity or weakness—and it will take more than just an empowered princess like Elsa to subvert these qualities (Davis, 2005; Hecht, 2011). Perhaps it was the guidance of Jennifer Lee, Frozen’s co-director, who has contributed the most to the movie’s success as a leading example of creating such multi- dimensional female characters. No longer are there damsels in distress, but instead active princesses who take charge with female agency and power (Garcia, 2014; Wloszczyna, 2013). Personal Empowerment in the Disney Context Disney’s worldview and princess feminism developed over time due to the foundation set by Walt Disney and the business model evolving and matching the broad culture of their audience. Disney had established its business foundation on fairy tales due to its phenomenal success with princess films. Children generally believe or know about the Disney version of fairy tales rather than the original written versions (Hecht, 2011). While making their earlier films before the 1950s, Walt Disney did not think of his audience as a specific age range, but instead saw the audience as largely female, and a study looking at Walt’s notes noted three main assumptions Disney made about the female audience: 1) women do not like physical or crude FROZEN ANALYSIS 5 humor, 2) women enjoy child-like and soft characters, 3) all women fall into the first two assumptions (Davis, 2005; Hecht, 2011). These assumptions about the female audience are carried out in major themes of Disney princess films, which suggests both that women’s happiness lies in marriage to a man who will take care of her, and the princesses are always happiest when being home makers. Each has a child-like innocence in how she can communicate with animals and maintain a cheery disposition despite what may be happening around her. In every Disney princess movie there is a point where the heroine sings about her goals and dreams. The song “Let it Go” is important to explicate because it shows a shift in content of what Disney princesses are singing about. This context change within princess’ songs can best be examined by comparing “Let It Go” to past songs. Snow White’s (1937) song “Someday my prince will come,” and Cinderella’s (1950) “A dream is a wish your heart makes” both focus on the princesses dreams of finding a prince to marry before they are happy. Ariel (1989) sings about being “where the people are,” and Belle (1992) dreams of “more than this provincial life” in a slow demonstration of the shift Disney made towards more independent and self reliant female role models. Pocahontas (1994) stood up to her father and prevented a war. Mulan (1997) disguises herself as a male soldier and saves the country from invaders. The two newest Disney princess films, The Princess and the Frog and Tangled, have likewise more modern perspectives matching the culture of the 21st century. Tiana (2008) has a deep connection with her father’s entrepreneurial spirit and is hard working to the point of pursuing her dream to own her own restaurant. Rapunzel (2010) dreams of living a life of her own, independent from her overbearing mother who is actually a witch in disguise. The themes of independence, determination, and self reliance were added to the Disney worldview, themes that are common to 21st century America (Campbell & Kean, 2016; Hofstede, 2014; Wynns & Rosenfeld, 2003). FROZEN ANALYSIS 6 There is a characterization within American culture that suggests individual identity is attached to individual happiness. Being true to oneself is becoming a core value taught in the United States (Hofstede, 2014). The development of individual agency, financial stability, and self reliance has risen in importance with the millennial generation (Campbell & Kean, 2016). There is especially a shift in prominence of feminist values and gender equality (Wynns & Rosenfeld, 2003). Within the film, Elsa is the only one who can reverse the eternal winter and save the kingdom. There is no prince to save the day. Elsa represents an example of someone who is separating herself and developing her own identity without the input of outside sources. In a moment of feeling rejected, Elsa finds that she can accept herself.
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