Abstract
Hans Christian Andersen’s fairy tale ‘The Snow Queen’ (1845) and its film adaptations have been examined from multiple perspectives by previous scholarly criticism. Recently, Gender and Queer theories have placed particular emphasis on the presence of non-normative romantic relationships between characters, namely, attraction between a young boy and an older woman (Kay and the Snow Queen), homoeroticism (Gerda and the Robber Girl), and even incestuous desire (Kay and Gerda), among others. In this paper, we will concentrate on how the original fairy-tale female characters and their interrelationships have been reworked in Walt Disney’s Frozen (Chris Buck and Jennifer Lee, 2013), and we will analyse how the film’s representations of love, desire, and femininity simultaneously resemble and differ from its literary source. Firstly, we will explore how Andersen’s alluringly dangerous Snow Queen has been turned into a sympathetic character, Queen Elsa. Secondly, we argue that Gerda and Kay’s friendship has been transformed into sisterly love between the two female protagonists in the film, Elsa and Anna, whereas romantic heterosexual love, on the other hand, seems to have been relegated to a secondary narrative arc or done away with altogether, as the absence of a romantic partner for Elsa shows. Interestingly, having a Disney queen whose quest does not involve finding a husband has led some Frozen fans to speculate that Elsa could be the first lesbian Disney princess. Thus, we will also analyse Elsa’s character in connection with the different definitions of ‘queerness’. In light of all this, we discuss that Frozen is an example of the recent Disney trend to redefine true love and prioritize female bonding and empowerment. However, if we compare it to its literary precedent, the Disney adaptation seems to be less daring when it comes to portraying non-normative manifestations of love and femininity than Andersen’s original.