The Hidden Message In Disney's Film, Frozen

I have watched the Disney film, Frozen, more times than I care to, being that one of my grandchildren is still very young. Kids love this movie, even those so young that they have just learned their very first word.

This has caused me to wonder more than once about the metaphoric lessons this movie has for the youth of the world, especially little girls who relate more closely to the main characters of this film.

Frozen is written in a fairy tale style, which is important to children because it relates to them at an archetypal level, communicating metaphoric messages which enables them to make sense of situations and realities in their own lives, and to thereby overcome obstacles, challenges, and problems. Because the real life lessons presented by myth and fairytale are processed at a subconscious level, the lessons are really very subjective and interpreted in individual ways, but nonetheless, in ways that are aligned with the overall context of the story. Such lessons are especially important for younger children who are not really ready to grasp complex life lessons at a conscious level.

Frozen is a story about two sisters, the daughters of a King and Queen in a mythical version of Norway. The older sister has a magical power of being able to generate ice and snow, and to be able to freeze things. As children, the two sisters enjoy experimenting and playing with this fun power. But then the younger sister, Anna, gets hurt, resulting in the castle being closed and locked up, with its occupants, namely the sisters, being forced to live as prisoners (one freer than the other), until an event symbolic of achieving adulthood (the older sister’s coronation).

Anna, locked up in her parent’s dwelling, if you will—you know, the father’s castle (and I say castle with all the authoritarian domineering father connotations) until that one day when she is finally able to express her freedom, as a teenager.

And wouldn’t you know it, the first guy she meets sweeps her off her feet and proposes to her. She gets engaged to a guy she doesn’t even know (a point that is brought up several times). And what is marriage, but simply a grandiose ceremony in the mundane world, which leads to the deflowering. After all, without the consummation, there is no marriage. In other words, this is really a story about Anna’s virginity. The fact that she is about to give it up to the first guy she meets, creates tension between her and her sister resulting in a catastrophic series of events and an ecstatic release of the magic they played with when they were younger. In fact it is so ecstatic, that the whole town and all the surrounding areas receive the bountiful discharge of the older sister’s (Elsa’s) magic.

We are talking about sex here. And quite possibly, the sisters are alternate egos of the same person: Anna, the younger, more playful ego who innocently and happily enjoys her own sexuality. And Elsa, the older more mature and serious alter-ego, who is sexually very powerful, but will not just give it up to the first guy that comes along (even if she might give it up for the whole town and its local forests, mountains, and seas; and who in fact, is fully capable of expressing (enjoying) it all by herself. (This would make the ending so much better where the true love Anna must find to gain healing, is to love and accept herself (as alternate ego) rather than an incestuous lesbian thing that could otherwise be deduced.)

In this light, we must then question, should Anna have not been willing to give up her virginity to the first guy that came along? It would have saved the whole town and province from the fallout of her (as her alternate ego sister), letting go in total sexual freedom.

On the other hand, can she be blamed? It was because of her parent’s, in an act of shame, repressing the girl’s sexuality, so severely that not only was she locked away in her father’s castle, but Elsa (representing the alter-ego with the true sexual power) was even locked away further—within her own room away from Anna. There would be no more playing; no more experimenting. Perhaps the real lesson is one of parental authority, and the prudent shame that induces its dominant expression, which creates hang ups and sexual dysfunction—even long after the parents are gone as we saw them disappear early on.

But then on the other hand, there is that song that is the most popular and best known aspect of the movie---not the Beatle’s ‘Let it be.’ No, Disney had to create a whole new song------‘Let It Go.’ Could the message of sexual abandon be any clearer? After all, those rock creatures told her that fear is her enemy—and they are, as we were told, the love experts.

In fact, it is when Elsa finally overcomes her fear, and after having truly mastered her magic, that she is able to come home, and entertain the whole town, much to all their enjoyment, with her magic (tricks, sexuality, kinks...).

And what is up with that snowman, and its blatantly phallic nose?

Or is this just a joke—satire on my part, at the expense of Walt Disney. How could any of us ever really know…?

But then if you argue, well what about all those messages of empowerment, respect for oneself, and overcoming obstacles and so forth? Well to that I say that by failing to even acknowledge such possibilities I direct most readers to accept, hook, line, and sinker, my completely sexual interpretation.

 

hidden messages can be found in form of tunnels carved by bark beetles.
of course no one has ever translated the language they are written in.

i would not ever though, regard "children's films" as any sort of standard reference on morality.
nor for that matter, the teachings of any religious belief.

 

So is Disney promoting sexual promiscuity, sexual prudence, OR am I just fooling with you and you read it too seriously?

 

Nothing new.

Look at how Disney presented Cinderella to us.

That's fucked up women since 1950.

 

I'm not sure to what extend Disney is to blame for that. Maybe it simply is a fair depiction of a fairytale. A fairytale is often based on or a portrayal of typical aspects in culture and society.

 

To be honest, they actually cut out a fair bit of the more disagreeable aspects.

I still remember my sisters' class coming home from a trip to a local theatre to see cinderella totally traumatised. Their teachers had taken them thinking it would be like the disney version, the kids weren't quite prepared for the "cutting chunks out of your feet so you can fit into the glass slippers" scene

 

Haha yeah reminded me of a movie adaption of Snow white I got to see as a kid which was definitely not the disney version. Scared me shitless. My mom felt guilty for taking us

 

today's disney is just a symptom, of the culture the corporatocracy both creates and markets to.
nothing wrong with sex, other then too damd many humans.
kids should be allowed, even encouraged, to get it out of their systems before they have to take on responsibility for running the world.

 

The movie was on again today-----did I forget to mention that at the beginning there are a bunch of manly men (while a manly man's song plays) using giant saws to break and penetrate the ice---that's right---each one a giant phallus breaking through virgin ice...

 

I think you'll put the movie on whether the grandkid wants to watch it or not

And you know all the words to Let it go, and love to sing along

 

to be honest, i've only seen out takes of it on you tube.
and nothing in any of them that remotely interests me.

probably because the usual erroneous assumptions about the nature of sapience don't interest me either.
of course you may disagree with or not like what my perspective on that is,
but it is what it is, whether anyone likes it or not,
and as i've mentioned it before,
nerdishness is next to godliness
mundaneness is for twits
and aggressiveness (not sex, has nothing to do with sex, good, bad, or indifferent, where, when, with what, or how often), is what filth is,
(because its dominance is always tyranny, regardless of ideologies, beliefs or anything else)

and lasting gratification is not found in ostentation nor excitement, but in creating and exploring,
(because unlike the usual gratuitous and erronious assumptions, creating and exploring, ARE what sapience, is)

 

Well---I do threaten to put it on for my oldest grandson who is a Freshman in High School---he hates it with a passion.

Actually I have never watched it clear through, in fact the first 10 or 15 times I hardly paid attnetion to it. But now it has been on so many times that I know the story even though I only see a few scenes or sequences each time it is on. However, in the special features section there are three music videos with three different artists doing Let It Go----one in English, one in Spanish, and one in Italian or some other language. All three of the artists are very beautiful and so I do make it a point to watch them.

 

If I was a young child---I'm sure I would love this movie. But I too am not really interested in it--as my last post may have pointed out----like I said, I have never really sat down and watched it clear through.

But that doesn't mean I can't have fun parodying it----and yes, if I haven't made myself clear yet, I am parodying it. I don't honestly think Disney would make a movie that is intended to be about sex. They might---no probably would---inadvertently do that, because the subconscious mind does that to us. There is after all, a bit of truth hidden in all parody. But I don't think Disney intended for any such hidden meaning. The OP is only parody...

 

well you see the thing is, people make assumptions about what might appeal to a young child based more on their own occluding of what they would otherwise remember of their own childhood then anything else.
i can assure with absolute certainty, that 90% of things intended to appeal to young children, did not appeal to me when i was one, nor would i greatly expect them to do so.
children are born naturally curious about the real world in which they are going to have to live.
instead they are mushroom farmed by adults who's egos imagine themselves to be doing a kindness by doing so.
by real world, i don't mean harshness either, because reality is no more greatly harsh, that it is fluffy and cuddly.
it contains both of course, but also a very great deal more of fascinating and inspiring diversity, then of either.
sacrine coated bullshit, denies them the wonder and gratification of exploring it.
and of course i know why its done; people want their children, and each other for that matter,
to see everything in a context, which they would like to pretend themselves,
which really has nothing to do, with either kindness, nor with what is actually there.

your intention is noted, but not directly what i am commenting on, nor is disney,
which i do have issues with, not in any way related to sex, however much arbitrary religious bias about it, may be an excuse for.

rather with the consumerist corporatist world view, disney, and even the dominant culture, promotes and perpetuates.
yes i understand your intention was innocent humor, and i'm a grouchy idealist who doesn't believe in ideology.

 

Disney movies are loaded with all sorts of sick imagery which is sometimes blatantly in your face, but because these are supposedly "kids" movies, nobody even thinks twice about what they're seeing, because after all, that would never be allowed.

Yes, the below video has a silly sounding and sensationalist title, and the voice-over may be a little too much, but the imagery speaks for itself. You'd have to have your head buried in the dirt to not see it.

https://www.youtube.com/watch?v=lP46LEKYB_Y

 

Fuck Disney. I'm anti Disney. I've only seen a few of the movies because even as a kid I wasn't impressed. Most of the moms are dead or evil. My friends are actually putting "No Disney items, please" on my baby shower invitations. I'm not sure how I'm going to keep this kid from Disney but I'm going to try my best.

 

I was thinking about popping cherries when i saw frozen, so i wasn't sure what to answer for the poll

 

Disney, Pixar, and so forth are all part of the cultural programming that shape us into fitting into the culture we live in. Herbert Marcuse in One Dimensional Man discusses how we are programmed what to want, who to love, what kind of person to be, and so forth. This equates into political control and manipulation of the masses.

This programming is what makes us fit so well into a culture that lacks true meaning, and yet allows us to feel that our lives do have meaning and that such meaning (whether we realize it or not) is expressed through consumerism. But all cultures have their own programming.

On the other hand, this cultural programming is all around us, and it is now so global that the only true way of escaping it would be to disappear into some remote isolated hunter-gatherer tribe and hope the missionaries don't discover it until after your children have passed their formative years.

And yet, such children's movies play into the same expression of the collective subconsciousness as all other pop culture and haute cultural creations. For example, the current pop cultural infatuation with zombies is reflective of the Nihilism and decay of our Modern culture. Likewise, the pop cultural affixation on the rise of the individual, and the current super-hero motif that is decidedly human reflects the collective subconscious desire for a hero to rise up and save us from ourselves, and the recognition that Modern Culture is overly objectivistic and rationalist (and that we are in a dire need to return to the subjective). The Hunger Games and Divergent franchises are examples of this, but also Frozen actually fits into that category.

And in fairness, Frozen is written in the style of a fairy tale. I don't know if it is based on a Norwegian fairy tale of legend, but it is apparently tied to Norway. Surprisingly, when the King consults an old map and book, it is written in Runes. As I wrote in the first post:

While I was parodying Frozen, this is still very true. For example, there are many stories of dead mothers, or dead parents--but this is not unique to Disney. Think of the very old tale of Hansel and Gretel. The fact is children deal with separation from their parents on a daily basis. While this may not be a matter of death, at a psychological and real life level it is still a catastrophic, even if only temporary event.

Children live in an enchanted world, and enchanted stories enable them to find their own lessons in ways that our teaching to children do not. In fact, it is the loss of enchantment in the Modern World that is related to the modern nihilism we face.

But the world is full of fairy tales and legends. So you can certainly filter out Disney and all other Modern tales of cultural programming. But then replace it with fairy tales and legends. An while they may seem violent or overly depressing, don't summarily reject all such stories based on adult values, rationality, and sentimentalities. In the same manner, you can't expect children to relate to adult stories in the same way adults would. The old stories especially are valuable because they are handed down from a time when we were more closely tied to our own subconscious mind.

 

Disney just caters for what the public wants

Dont blame Disney

Blame people....people includes you (and by you I mean everyone reading this thread, not just the OP)

Disney is just a reflection of how people are

No ones going to flock to the cinema for a tale about a short fat ugly prince, or a princess with bad skin or a weight problem

Blame yourself, dont blame anyone or anything else