religions Article Religion-Making in the Disney Feature Film, Frozen II: Indigenous Religion and Dynamics of Agency Trude Fonneland The Arctic University Museum of Norway and Academy of Arts (UMAK), UiT-The Arctic University of Norway, P.O. Box 6050, N-9037 Langnes Tromsø, Norway;
[email protected] Received: 4 August 2020; Accepted: 19 August 2020; Published: 21 August 2020 Abstract: This paper explores the religion-making potential of a particular secular institution, namely the Walt Disney Studios. Focusing on the animation film Frozen II that was launched in November 2019, the current article enters into debates about the manner in which indigenous religion is part of the commodity presented—how religion is produced, packaged, and staged. In the article I argue that contemporary media-scapes can be seen as agents of religion-making, of religious circulation, and renewal. As such, religion, as it is expressed in Frozen II, is outlined and produced by a particular media-form and shaped as a popular cultural formation. Further discussions about cultural appropriation are highlighted, focusing on how Disney’s reach out for cooperation with the Sámi community can generate new cultural policies and practices. Keywords: Frozen II; indigenous religion; religion-making; appropriation; collaboration 1. Introduction Frozen II had its world premiere at the Dolby Theatre in Hollywood on 7 November 2019, was released in the United States by Walt Disney Studios on 22 November 2019, and is ranked as one of the highest grossing animated movies of all time.1 The sequel to the 2013 film Frozen provides a reunion with the famous royal sisters Elsa and Anna and their friends, the high-spirited snowman Olaf, the reindeer Sven and the ice harvester and deliverer, Kristoff who together embark on a journey from their kingdom Arendelle.