Run Time: 102 minutes
Director: Chris Buck, Jennifer Lee
Despite the popularity of this film, it is very neutral regarding cultural progressiveness. While some traditional gender roles are challenged by the lead female characters, the movie does not engage with racial diversity, disability, sexual orientation, or the body.
Two sisters torn apart by their differences must find a way to reconnect.
- Demeaning language
- “monster,” “murderer,” “dumb,” “creepy,” “stinker,” “crook”
- Weapons- swords, arrows, sharp icicles, knife
- Scary wolves
- The snowman is comically impaled by an icicle
- Elsa accidentally hits her sister with her magic powers
- Kristoff hits his head on a boulder
- Hitting, fighting
- Minimal kissing
- Sexual innuendo regarding foot size
- Alcohol consumption
- The two female lead characters are active and challenge traditional gender roles regarding femininity. For example, Elsa is depicted as powerful and able to take care of herself, and Anna sacrifices her own life to save her sister.
- When Anna tells Elsa about her engagement, Elsa recognizes the need for marriage to be a decision that is well thought-out as she reacts negatively Anna’s news. This is important because Disney movies often depict “true love” (heterosexual romance), and ultimately marriage, as one of the most significant occurrences in a woman’s life and the characters in the film rarely question a woman’s decision to marry a man (even if the couple only know each other for short period of time).
- Kristoff is not depicted as traditionally masculine, and is, by the end of the film, depicted as desirable. For example, he says he might cry when he sees the beautiful ice palace that Elsa has constructed, and it is suggested that Anna and Kristoff are a romantic couple by the end of the film.
Sexual Orientation: N/A
- One minor character, who is fat-bodied, is depicted as friendly. This challenges stereotypes regarding fat-bodied individuals in which body type is indicative of one’s moral character (the fat-bodied person as lazy or evil).
- Anna is depicted as naïve and quick to fall in love, which aligns with traditional gender roles regarding femininity. At the end of the film, Anna is still concerned with finding heterosexual romance.
- The traditionally masculine tasks (ice harvesting) only included men, while the traditionally feminine tasks (maids) only included women.
- Anna wears impractical clothing that act as signifiers of femininity, such as a dress and heels, to find her sister in the snowy mountains.
- There are no major or minor characters of color. There are possibly one or two characters of color shown in a crowd setting.
- There are no variations of sexual orientation.
- No characters appear to have a visible disability.
- Most bodies conform to body ideals.
- A small and emasculated body is depicted as corrupt, greedy, and self-interested. This adheres to the stereotypes surrounding aberrant bodies in which an abnormal body type is indicative of immoral character.
Suggested talking points
- Oftentimes Disney movies emphasize the importance of wealth and class status by portraying rags-to-riches stories or by portraying a character who is already upper-class. Kristoff appears to be working-class, and is depicted as desirable and worthy of Anna’s love by the end of the film.
- At the end of the film, Anna makes the ultimate sacrifice, her life, in order to save her sister Elsa. How is self-sacrifice an important part of friend and family relationships?
- Prince Hans initially adheres to the classical prince charming trope but ends up being the main villain by the film’s end. This is important because it suggests that just because a person is attractive (or looks “good”) does not mean that the person is automatically a good person. Thus, the inclusion of Prince Hans as the villain challenges the notion that body type (and attractiveness) is directly indicative of moral character.
Keywords: disney, music, musical, movie, frozen, animated, family, elsa, anna, princess elsa, princess anna, princes