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Firmino Gonalves
Ms. Rastin
ENG4U
Wednesday, March 23, 2016
The Collapse of Patriarchy in Frozen
The 2013 Disney film Frozen recounts the tale of Elsa, a young woman who is
unable to embrace her ability to manipulate ice and snow, and of Anna, her younger sister,
who struggles to keep Elsa by her side. While on the surface a tale of acceptance,
Frozens true intention is to encourage its viewers to reject patriarchy in favour of a
feminist society. The film achieves its goal first by illustrating the oppressiveness of
patriarchy. Next, it employs patriarchy as the motive for all actions committed by the
antagonists of the film, ultimately shedding a positive light on feminism. Finally, the movie
establishes a distinct separation between the characteristic values of patriarchy and
feminism and ensures that it sheds a positive light on feminism in order to make it appear
superior to patriarchy. In essence, Frozen speaks strongly against societies driven by
masculine morals and seeks to persuade its viewers to reject such societies in favour of
feminist ones.
Frozen argues the integrity of patriarchy within the first few minutes of the film
when Anna is first struck by a young Elsas ice beam. When discussing a plan to prevent
such an event from being repeated, King Agnarr, Elsas father, declares that he will limit
[Elsas] contact with people. Without any forethought of the effects that isolating Elsa
would engender, Agnarr wields his power as a patriarch to fulfill his commands; he
actively neglects the rights of those who are not part of the male-driven government and

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prevents his daughter from experiencing the real world. One may suggest that proceeding
Agnarrs death, patriarchy ceases to exist, yet Elsa, who knows no way of life other than
one compelled by patriarchal principles, prolongs the influence of this governmental
system.
The day of Elsas coronation proves to be instrumental in validating feminism and
repudiating patriarchy. As Elsa prepares to be crowned Queen of Arendelle, two
antagonists are introduced: the Duke of Weaseltown, who, upon arriving in Arendelle
plans to exploit [Arendelles] riches, and Prince Hans of the Southern Isles, whose
motives are considerably more deceiving. Both men seek something from the fjord that
would bolster their ability to reign over their respective kingdoms: the Duke goes after the
lands riches so that he may strengthen Weaseltowns economic standing. Hans, on the
other hand, hopes to marry Anna and later slay her and Elsa in order to be crowned King.
Not coincidentally, both mens intentions aim to prolong patriarchal influence and to
suppress the feminists who disavow it.
Following the coronation, Elsa and Anna have their first conversation in years. Elsa
is incomparably more poised than Anna, who struggles to speak coherently. This
difference in composure translates to apparent patriarchal superiority; essentially, the film
portrays feminists in power as much less sophisticated than patriarchs. Subsequent to
Hans and Annas marriage announcement, Elsa, the emblem of patriarchy, makes her
disapproval known. Consequently, Anna challenges her judgement and Elsa, who notices
that her power is being disputed, reacts aggressively by initiating an endless winter
through which the citizens of Arendelle must suffermuch like a patriarch whose
judgement is questioned may react contentiously.

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Elsa flees her kingdom singing Let It Go and she begins to experience the
freedom from which her father sheltered her. By the end of the number, Elsa begins to
grasp her true power but does not immediately abandon patriarchy. Instead, she creates
physical agents of feminism and patriarchy; the ice castle, which isolates her from the
world much like Agnarr did, is an emblem of patriarchy while Olaf the snowman embodies
feminism. Not only is Olaf the only memory which both sisters share prior to Elsas
introduction to patriarchyin other words, Agnarrs choice to confine his daughter to her
room, but he leads Anna back to Elsa so that she may convince Elsa to abandon
patriarchal teachings.
Annas attempt to convert Elsa into a strong feminist provokes her death. As her
heart slowly freezes over, Hans convinces Elsa that she is the inciting force in her sisters
demise and tells her not to be the monster you fear you are. Hans plea earns him
enough time to strike Elsa, but Anna takes the blow in order to protect her. Though Anna
dies, Elsas act of true loveher conversion from patriarchy to feminismrestores
Annas life. Furthermore, the eternal winter created while Elsa favoured patriarchal morals
ceases and Olaf, whose feminist nature allowed Anna to find Elsa and convince her to
abandon patriarchy, is given an endless supply of snowfall so that he may live forever.
By performing these acts, Elsa abandons patriarchy once and for all.
Ultimately, Frozen is a film which speaks strongly against patriarchy and promotes
equality in an age dominated by misogyny. By illustrating the oppressiveness of
patriarchy, using male domination as the motive of the films antagonists and by shedding
a positive light on feminist principles, Frozen succeeds in encouraging its viewers to
repudiate patriarchy.

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Works Cited
Frozen. Dir. Chris Buck, Jennifer Lee. Perf. Kristen Bell and Idina Menzel. 2013. DVD.

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