Frozen
Directed by
Screenplay byJennifer Lee
Story by
  • Chris Buck[1]
  • Jennifer Lee[1]
  • Shane Morris[1]
Produced byPeter Del Vecho
Starring
CinematographyMohit Kallianpur
Edited byJeff Draheim
Music by
Layouts byScott Beattie
Production
companies
Distributed byWalt Disney Studios
Motion Pictures
Release dates
  • November 19, 2013 (2013-11-19) (El Capitan Theatre)
  • November 27, 2013 (2013-11-27) (United States)
Running time
102 minutes[2]
CountryUnited States
LanguageEnglish
Budget$150 million[3][4]
Box office$1.285 billion[4]

Frozen is a 2013 American animated musical fantasy film produced by Walt Disney Animation Studios and distributed by Walt Disney Pictures. Produced by Peter Del Vecho, the film was directed by Chris Buck and Jennifer Lee from a screenplay by Lee. The directors co-wrote the story with Shane Morris, drawing inspiration from Hans Christian Andersen's "The Snow Queen". It stars the voices of Kristen Bell, Idina Menzel, Josh Gad, Jonathan Groff, and Santino Fontana. Frozen follows Princess Anna as she teams up with Kristoff, Sven, and Olaf to find her estranged sister Elsa, whose icy powers have inadvertently trapped their kingdom in eternal winter. Thematically, it explores feminism and sisterly bonds over romance, breaking traditional gender norms and Disney fairytale conventions.

Development began after the film's executive producer John Lasseter, who was intrigued by Disney's earlier unsuccessful attempts to adapt "The Snow Queen", successfully persuaded Buck to join the project. Buck wanted to explore a fresh perspective on true love rather than Disney's traditional prince and princess narrative. The story underwent extensive rewriting and testing, leading to a final version that emphasized the bond between Anna and Elsa and the themes of love and sacrifice. During animation and cinematography, emphasis was placed on creating realistic and engaging snow and elements. Kristen Anderson-Lopez and Robert Lopez wrote the songs, and Christophe Beck composed the score.

Frozen premiered at the El Capitan Theatre in Hollywood, Los Angeles, on November 19, 2013, and went into its general theatrical release on November 27. It received generally positive reviews from critics and garnered many accolades, including the Best Original Song ("Let It Go") and Best Animated Feature at the 86th Academy Awards. The film grossed a total of $1.285 billion in worldwide box office revenue and became the highest-grossing animated film at the time, the highest-grossing film of 2013 and finished its theatrical run as the fifth-highest-grossing film of all time. Frozen became a popular culture phenomenon with its songs, characters, storytelling elements, and appeal to a general audience. Its popularity inspired the creation of a franchise, which included an animated short in 2015, an animated featurette in 2017, and a feature-length sequel, Frozen II, in 2019.

Plot

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Princess Elsa of Arendelle possesses magical powers allowing her to control ice and snow, often using them to play with her younger sister Anna in their childhood. After Elsa accidentally injures Anna with her magic, their parents—the King and Queen—take them to a colony of stone trolls led by Grand Pabbie, who heals Anna but erases her memories of Elsa's magic. Grand Pabbie warns Elsa that she must learn to control her powers, and that fear will be her enemy. The sisters are isolated within the castle, the gates of which are now closed off to the public. Out of fear of her increasingly unpredictable powers, Elsa ceases all contact with Anna, causing them to become emotionally distant. When the sisters are teenagers, the King and Queen are lost at sea and presumed dead.

Upon reaching adulthood, Elsa is due to be crowned queen but fears that her subjects will discover her magic and fear her. The castle gates are opened for the first time in years to the public and visiting dignitaries, including the scheming Duke of Weselton and Prince Hans of the Southern Isles. Elsa's coronation proceeds without incident, but she remains distant from Anna, who develops a romantic bond with Hans during the festivities but is opposed by Elsa. Hurt and confused, Anna protests, begging Elsa to explain her fear and isolation. The emotional strain causes Elsa to accidentally unleash her powers before the court. Branded a monster by the Duke, Elsa flees to the North Mountain, where she finally acknowledges her powers, transforming herself and building an ice palace to live a hermit life. Unbeknownst to Elsa, her magic has caused Arendelle to fall under an eternal winter.

Anna ventures to find Elsa and end the winter, leaving Hans in command. After getting lost, she meets an iceman named Kristoff and his reindeer Sven, recruiting them to take her to the mountains. After an attack by wolves damages Kristoff's sleigh, they continue the journey on foot, discovering Olaf, a talking snowman unknowingly created by Elsa who offers to guide them to her. When Anna's horse reports back to Arendelle without her, Hans sets out to find her along with the Duke's minions, whom the Duke secretly orders to kill Elsa.

When Anna reaches the ice palace and reveals to Elsa what has become of Arendelle, a horrified Elsa confesses she does not know how to undo her magic. Her fear causes her powers to manifest themselves once more, and she accidentally freezes Anna's heart, seriously injuring her. In desperation to keep Anna safe, Elsa creates a giant snow monster named Marshmallow, who chases Anna, Kristoff, and Olaf away. Realizing the effects of Elsa's spell on Anna, Kristoff takes her to the trolls, his adoptive family. Grand Pabbie reveals that Anna will freeze solid unless "an act of true love" reverses the damage. Kristoff and Olaf race Anna back home so Hans can kiss her. Hans and his men reach Elsa's palace, defeating Marshmallow, who falls into a chasm, and capturing Elsa.

Anna is delivered to Hans, but rather than kissing her, Hans reveals he was actually planning to seize the throne of Arendelle by eliminating both sisters. Hans locks a heartbroken Anna in a library to die and then manipulates the dignitaries and the Duke into believing that she died due to Elsa's powers. He orders the queen's execution, only to discover she has escaped her cell. Anna is freed by Olaf and they meet Kristoff, whom Olaf revealed is in love with her. Hans confronts Elsa outside, claiming that she killed Anna, causing Elsa to break down and abruptly stop the storm. Moments before Hans can kill Elsa, Anna leaps in the way and freezes solid, stopping Hans. Devastated, Elsa hugs and mourns over her sister, who thaws out, her heroism constituting "an act of true love".

Realizing that love is the key to controlling her magic, Elsa dispels the eternal winter and gives Olaf a flurry small cloud to experience warmth. Hans is arrested and banished from Arendelle for his treason while Elsa cancels the trade agreement with Weselton to get back at the Duke. Anna gives Kristoff a new sleigh and the two kiss. The sisters are reunited, and Elsa promises never to lock the castle gates again.

Voice cast

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Top row (L–R): Kristen Bell, Idina Menzel
Bottom row (L–R): Jonathan Groff, Josh Gad

Non-speaking characters include Kristoff's reindeer companion Sven, horses, and wolves.[30] The grunts and snorts for Sven were provided by Frank Welker who was not credited in the film.[31]

Production

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Background

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Illustration of Hans Christian Andersen's The Snow Queen

In March 1940, Walt Disney suggested a co-production with film producer Samuel Goldwyn, where his studio would shoot the live-action sequences of Hans Christian Andersen's life and Disney's studio would animate Andersen's fairy tales. The animated sequences would be based on some of Andersen's best-known works including "The Snow Queen". After the United States entered World War II, Disney shifted focus to wartime propaganda, halting progress on the Disney–Goldwyn project and shelving "The Snow Queen" project in 1942.[32]

Between 2000 and 2002, Disney Animation Studio explored multiple adaptations of "The Snow Queen". These versions removed key elements like the troll and mirror, requiring creative solutions for the character Kai's departure. Attempts included a storyline in Iceland where Kai joins a whaling ship to impress Gerda, while the Snow Queen rides an orca. Other versions experimented with adding comic side characters to the narrative.[33] Despite the diverse attempts, the studio failed to transform the minimally defined characters and episodic plot into an engaging story.[34]

During one of those attempts, Michael Eisner, then-chairman and chief executive officer of The Walt Disney Company, expressed his support for the project. He proposed a collaboration Pixar director John Lasseter who was intrigued by Disney's concept art from their earlier attempts,[35] contingent on the anticipated renewal of Pixar's contract with Disney.[36] Rather than renewing the contract,[37] Disney acquired Pixar in January 2006 for $7.4 billion and Lasseter was promoted to chief creative officer of both Pixar and Disney Animation.[38]

Development

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Development began in 2008 after Lasseter successfully persuaded Chris Buck, who had previously co-directed Disney's 1999 film Tarzan[39] and was working at Sony Pictures Animation (co-directing the 2007 film Surf's Up), to return to Disney. In September of that year, Buck pitched several ideas to Lasseter, including "The Snow Queen".[40] Buck shared that his original concept for "The Snow Queen" was not based on the Andersen fairy tale, but rather stemmed from his desire to explore a fresh perspective on true love. He stated that since Disney had already delved into the conventional prince-kissing-the-princess narrative, he aimed to explore a novel approach.[41] The project began under the title Anna and the Snow Queen, and the original plan was to create it using traditional animation.[39]

According to Josh Gad, he became involved with the film during its early stages when the plot closely resembled the original Andersen fairy tale, and Megan Mullally was set to voice Elsa.[42] In early 2010, the project entered a period of development challenges when the studio struggled to make "The Snow Queen" story work.[43]

On December 22, 2011, Disney revealed a new title for the film, Frozen, and set a release date for November 27, 2013. A month later, it was confirmed that the film would be computer-animated instead of the initially planned traditional animation.[44] Kristen Anderson-Lopez and Robert Lopez joined the project and started writing songs for Frozen in January 2012.[45]: 44:00  On March 5, 2012, it was announced that Buck would be directing, with Lasseter and Peter Del Vecho producing.[46] Lasseter was later credited as executive producer.[1]

Writing

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Director Chris Buck, and director and screenwriter Jennifer Lee in 2015

In March 2012, Jennifer Lee, one of the writers of Wreck-It Ralph (2012), was hired to write the screenplay.[47] Prior to Lee's involvement, the screen and songwriters faced significant challenges. According to Anderson-Lopez, "the whole script imploded and we got to build it together with Jennifer Lee and Chris buck."[45]: 30:46  The production team essentially had to restart the process and faced a deadline of 17 month, resulting in a tight schedule.[48]: And so you have to be flexible. And Ralph was like the best boot camp ever, but exhausting. And what made Frozen very different was two things. One is we had a very intense schedule. Ralph took about three years to make and Frozen, when I came on we essentially started over and we had 17 months.  Lee was later promoted to co-director during production.[49]

According to Lee, certain core concepts were already established, such as the film's "frozen heart" hook where an "act of true love will thaw a frozen heart". The team envisioned that the ending would revolve around true love in the context of the emotional bond between siblings, not romantic love, with Anna saving Elsa.[48] Lee recalled that Edwin Catmull, president of Disney Animation, emphasized early on the importance of focusing on the film's ending.[50] The final version of the film diverged significantly from the initial concepts. In the original draft, Elsa was inherently evil, kidnapping Anna from her wedding to deliberately freeze her heart and later attacking the town with an army of snowmen.[45]: 8:42  Buck revealed that the original plot aimed to evoke sympathy for Anna by highlighting her frustrations as the spare rather than the heir.[51] In the revised plot, the focus shifted to musical comedy with reduced emphasis on action and adventure.[47]

Elsa's initial villainous character is driven by her heartbreak after being jilted at the altar. The plot revolved around a prophecy about a ruler with a frozen heart causing destruction, leading to a battle with snow monsters and an avalanche triggered by the two-faced Hans. However, the team decided to transform Elsa and Anna into sisters and explored the theme of love versus fear. This change led to a more relatable and emotional storyline, with Anna's selfless act of saving Elsa thawing her frozen heart. The challenging part was staging the ending visually, which was resolved by depicting Elsa's emotions creating a blizzard, isolating Hans and Elsa from Anna, and allowing for the emotional reveal of the characters.[52][53]

The Lopezs' composition of the song "Let It Go" transformed Elsa into a more intricate, vulnerable, and sympathetic character, grappling to control and accept her gift rather than a villain.[54][55] The songwriters approached this by empathizing with Elsa and delving into her experience of revealing her true self and enduring her freedom in solitude.[48]: And this concept of letting out who she is that she’s kept to herself for so long and she’s alone and free, but then the sadness of the fact that the last moment is she’s alone. It’s not a perfect thing, but it’s powerful. And they came in with the demo of Let it Go and it’s exactly word-by-word the exact song.  "Let It Go" reshaped Elsa's character, depicting her as a character governed by fear, while Anna is driven by love and determination. This spurred the production team to rewrite the first act, leading to a ripple effect that permeated the entire film.[56]: 6:23 

Another breakthrough came with the introduction of the plot twist involving Hans being revealed as the true villain near the end. The production team aimed to make the audience believe that Hans was the charming prince for Anna, only to subvert their expectations later.[57] Lee portrayed Hans as "sociopathic" and "twisted" while also laying the groundwork for Anna's eventual turn to Kristoff. The production team aimed to evoke Anna's emotions without fully revealing them, ensuring that the audience felt her inner conflict for both characters.[48]: : And this concept of letting out who she is that she’s kept to herself for so long and she’s alone and free, but then the sadness of the fact that the last moment is she’s alone. It’s not a perfect thing, but it’s powerful. And they came in with the demo of Let it Go and it’s exactly word-by-word the exact song. ..What you need to feel is her feeling something but not quite understanding it so that she doesn’t then seem like, “Well he doesn’t love me, I’ll like him.” What it is is there’s an awakening and you’re sensing it, but it’s not 100%. Because the minute it is it deflated. And that’s what made, to me, the Fjord moment we were headed for so hard. It wasn’t literally until we screened it in June — that was our last screening — so the last change. And Ed hadn’t seen it, because we had done an internal screening but he wasn’t there.  In earlier versions, Anna openly flirted with Kristoff at their first meeting. However, this was changed after Walt Disney Studios chairman Alan Horn pointed out the potential confusion and annoyance this would cause, given Anna's prior engagement to Hans.[58]

Lee faced the challenge of defining Anna's personality; some colleagues suggested making Anna more dysfunctional and co-dependent.[47]: It’s funny, I think there are a lot of things where you have to let it go a little at times, kind of let it run its course. But I always think what it means is you have to learn to say it better. I think the best example of that was Anna. I wanted a girl whose only journey was sort of coming-of-age, where she goes from having a naive view of life and love–because she’s lonely–to the most sophisticated and mature view of love, where she’s capable of the ultimate love, which is sacrifice. And that was all I wanted for her. But people really went into more of the dysfunctionality–make her more co-dependent, they wanted to make her a little bit more like Vanellope in Wreck-It Ralph. And I didn’t have a reason why not to do that, I just couldn’t articulate it yet.  Lee disagreed, and it took her nearly a year to clearly express Anna.[48]:  It’s funny, I think there are a lot of things where you have to let it go a little at times, kind of let it run its course. But I always think what it means is you have to learn to say it better. I think the best example of that was Anna. I wanted a girl whose only journey was sort of coming-of-age, where she goes from having a naive view of life and love–because she’s lonely–to the most sophisticated and mature view of love, where she’s capable of the ultimate love, which is sacrifice. And that was all I wanted for her. But people really went into more of the dysfunctionality–make her more co-dependent, they wanted to make her a little bit more like Vanellope in Wreck-It Ralph. And I didn’t have a reason why not to do that, I just couldn’t articulate it yet.   She successfully conceived a straightforward coming-of-age story, where Anna transitions from a naive perspective on life and love due to her loneliness to a mature understanding of love, culminating in the ultimate expression of love: sacrifice. Throughout the process, she discarded many ideas she liked, including a scene depicting Anna and Elsa's relationship as teenagers to maintain the separation between the characters.[47]:  It’s funny, I think there are a lot of things where you have to let it go a little at times, kind of let it run its course. But I always think what it means is you have to learn to say it better. I think the best example of that was Anna. I wanted a girl whose only journey was sort of coming-of-age, where she goes from having a naive view of life and love–because she’s lonely–to the most sophisticated and mature view of love, where she’s capable of the ultimate love, which is sacrifice. And that was all I wanted for her. But people really went into more of the dysfunctionality–make her more co-dependent, they wanted to make her a little bit more like Vanellope in Wreck-It Ralph. And I didn’t have a reason why not to do that, I just couldn’t articulate it yet.   To develop the bond between Anna and Elsa, she drew additional inspiration from her own relationship with her older sister.[59]

The production team transformed Olaf from a obnoxious sidekick into a comedic one.[48]: We have a character who is so deluded about how the world works, and yet is just completely chipper and cheerful...But it’s another great fun thing of the genre which is, well, guys, we’ve got to have a sidekick, a comedic sidekick. We’ve just got to do it  Initially, Lee wanted to eliminate the snowman from the story. However, a staff animator conceived a three-page script treatment with Gad that convinced her otherwise.[60] Throughout the process, the team discarded many details from earlier drafts, such as a troll with a Brooklyn accent explaining the backstory behind Elsa's powers, and a regent for whom Lee had considered casting comedian Louis C.K. These elements were removed because they added complexity to the story beyond what could fit into the film.[48]:  And this concept of letting out who she is that she’s kept to herself for so long and she’s alone and free, but then the sadness of the fact that the last moment is she’s alone. It’s not a perfect thing, but it’s powerful. And they came in with the demo of Let it Go and it’s exactly word-by-word the exact song. ..What you need to feel is her feeling something but not quite understanding it so that she doesn’t then seem like, “Well he doesn’t love me, I’ll like him.” What it is is there’s an awakening and you’re sensing it, but it’s not 100%. Because the minute it is it deflated. And that’s what made, to me, the Fjord moment we were headed for so hard. It wasn’t literally until we screened it in June — that was our last screening — so the last change. And Ed hadn’t seen it, because we had done an internal screening but he wasn’t there. .. But he said you can do whatever you want, but you have to earn that moment. And he’s like, “And if you do, it will be fantastic. And if you don’t, the movie will suck.” And that’s the only, he’s like, “Bye, ” and it’s so him to say that, but I mention that because part of the reason the first act was so hard was because we were telling a much more complex story than really we felt like we could fit in this 90-minute film. 

In November 2012, the team believed they had finally mastered the story.[61] Disney subsequently conducted test screenings of the partially completed film in Phoenix, Arizona.[59]: The film production crew tried the concept and film segment with two test groups in Phoenix, and got the “highest scores” in comparison with other films that had been tested with them, Rebecchi said. 

Casting

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Actress Kristen Bell was chosen to voice the character Anna on March 5, 2012.[15][46] Bell, who recorded her lines during her pregnancy, had to re-record some lines after giving birth due to the deepening of her voice.[62] She was called in for additional recording sessions approximately 20 times, with the production team claiming that this was partly due to the the evolving story elements.[63] Regarding her approach to the role of Anna, Bell expressed her excitement about fulfilling her childhood dream of being part of a Disney animated film.[15]: "Since I was 4 years old, I dreamed of being in a Disney animated film, " Bell says. "It was the first goal I ever set for myself. It seemed like it would be a very unrealistic one."  She explained, "I always loved Disney animation, but the female characters seemed unattainable to me. They had perfect posture and spoke too eloquently. I aimed to make Anna more relatable, weirder, scrappier, and more awkward."[64]

Frozen is "a bit of a feminist movie for Disney. I'm really proud of that. It has everything, but it's essentially about sisterhood. I think that these two women are competitive with one another, but always trying to protect each other – sisters are just so complicated. It's such a great relationship to have in movies, especially for young kids."

– Idina Menzel, on her impression of Frozen[65]

Broadway veteran Idina Menzel was chosen for the role of Elsa. She had previously unsuccessfully auditioned for Tangled (2010). However, one of Tangled's casting director kept a recording of her performance on her device. Based on that recording, she invited Menzel and Bell to audition for Frozen.[66]: A failed audition for Disney movie Tangled that a casting director taped on her iPhone helped singer Idina Menzel land a leading role in the movie studio's latest animated treat. She didn't get the part - but a casting director was such a fan she secretly recorded the performance and then used it to persuade film bosses that the Rent star was the perfect choice for the role of Elsa in new movie Fr  Before their official casting, Menzel and Bell deeply impressed the production team during an early table read.[54]: “During one of our early read-throughs, Kristen and Idina sang a ballad to each other which had so much emotion that everyone in the room was in tears, ” Buck says. “It not only showed how great their voices were together, but showed the power the music would have in the story.” As a longtime animator, Buck also was excited by the possibilities of creating the wintery landscape in 3-D. A research team even went to Norway to get some ideas.  At the event, the songwriters were also present, and Anderson-Lopez expressed that they were delighted to hear Menzel and Bell sing together in perfect harmony.[45]

Between December 2012 and June 2013, the casting of additional roles was announced, including Jonathan Groff as Kristoff, Alan Tudyk as the Duke of Weselton, Santino Fontana as Hans, and Josh Gad as Olaf.[22]

Design

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Initially set in the late 1600s, Frozen's costume designs were shifted to the 1840s for a more classical fairy tale appearance.[67] The design team focused keenly on fine details, intricately replicating the unique properties of various materials.[68] Elaborate embroidery and rosemaling are featured in their designs,[69] balancing bold color choices with distinctly clear shapes.[70] For inspiration, the team traveled to Norway, where they were intrigued by the intricate patterns and textures in Norwegian folk art, decorative arts, and architecture.[71] They adhered to the traditional Norwegian style by predominantly using wool, velvet, linen, and silk as accents. Wool, being less reflective, served as an ideal base for the vibrant colors.[72] The team aimed for stylized elements that complemented the characters and the story rather than a realistic travelogue.[73] Arendelle's designs feature asymmetric elements from Balestrand's architecture combining Victorian aesthetic and Norwegian rustic design,[74] and its castle drew inspiration from twelfth-century Norwegian stave churches.[75]

To create Elsa's magical winter conditions including frozen fjords and extreme ice formations, they drew inspiration from Great Lakes lighthouses where continuous spraying results in unique and bizarre ice sculptures forming on top of ice.[76] Elsa's magic ice followed snowflake patterns but on a larger scale. Her growth of the ice is characterized by a melodic and rhythmic pattern,[77] and her palace incorporated various types of ice, ranging from clear and reflective to frosted and opaque. Clear ice areas allowed for distorted images and reflections, while frosted parts concealed views. The choice between them is influenced desired atmosphere and temperature, reflecting the narrative and intended emotional tone of the scene.[78] According to the design team, Elsa's palace is intricately linked to her emotional journey. As her character evolves from anger to contentment, the palace transforms in response. Initially aggressive, it gradually becomes more sculptural and refined, reflecting Elsa's dynamic mood and her journey toward self-discovery and acceptance.[79]

Animation and cinematography

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Emphasis was placed on carefully managing the overall lighting, shadow, and color hues to prevent the setting from overpowering the character. Adjustments including lighting, object decorations, textures, and patterns ensured elements blended harmoniously with the scene.[80] Buck wanted to infuse the film with strong, shape-oriented visuals. To achieve this, he recruited Michael Giaimo, who popularized this style. Buck was intrigued by Giaimo's sense of shape and design and innovative approach to push the boundaries of color and shape for realistic depiction in computer-generated imagery (CGI).[81][82]

Translating drawn actions in CGI required careful rigging to ensure realistic movement.[83] Believability is challenging to achieve because the characters engage in activities like singing and dancing, which demand a high level of believability despite the fantastical elements.[84] The animation and effects team studied intricate costume designs and rosemaling patterns, aiming to incorporate them into the film's animation and lighting style.[85] When applying effects, they followed a narrative structure with a clear beginning, middle, and end. These elements were integrated into the storytelling process, aligning with the vision outlined by the directors and contributing to the overall narrative arc of the film.[86]

Rigging Anna and Elsa required subtle refinements to highlight their individual traits due to their roles as heroines and sisters, with both characters needing to exhibit high performance and appeal while retaining their unique personalities.[87] For the snow monster Marshmallow, they strive to create realistic icicles, determined its edge hardness for correct lighting, and avoided a rubbery appearance.[88] Elsa's costumes and physical appearances require strong, purposeful shapes that accentuate and support the characters' physical and emotional performance. Her costume resembles ice crystals with intricate refractive and reflective properties.[89]

The Norwegian-based costumes were challenging to animate because of their intricate designs.: Giaimo and his team were inspired by Norwegian bunad—traditional folk costumes that feature elaborate and colorful designs. The look required some technical preparation, however, due to the highly detailed and layered looks  This was amplified by the increased number of cloth rigs compared to previous Disney CGI films.: Layers are not easily understood in the CG process, so advances were made to build costumes in a different way to ensure authenticity in both the look and movement of the costumes. The film has more than two times the number of cloth rigs represented in every WDAS CG feature film prior to it—combined. The result is more sophisticated, dynamic and believable clothing for each and every character (even background characters).  The costumes used digital pattern-making techniques and real-world fabric properties, ensuring that their on-screen behavior closely resembled that of real life.: Additionally, filmmakers constructed the costumes in “Frozen” utilizing digital pattern-making techniques and introduced the real-world properties of fabric to ensure that costumes behaved on screen much like they would in a live-action production.  Creating the braids and the diverse styles of the characters' Norwegian-based hairstyles were also very complex.: The characters in “Frozen” were given traditional hairstyles that evoked the Norwegian cultural inspiration. The introduction of braids—and the number of styles featured—proved challenging to the production team.  A celebrity hairstylist helped create Elsa's hairstyle, which surpassed the complexity of previous Disney characters at 420,000 strands.: At 420, 000 hairs, Elsa has more than four times the number of hairs as the average human. (The famous locks of Rapunzel in “Tangled” had 27, 000 very long hairs.)  The program Tonic was developed to enable artists to more effectively group and style the characters' hair. It also helped create traditional Norwegian styles, including intricate braids, and extended to animals like wolves and horses.[90]: For Elsa and Anna’s more traditional styles, the challenge required even more resources. Though it might seem that “Tangled” presented the WDAS team with the biggest challenge when it came to hair, “Frozen” actually takes hair to new lengths. A program called Tonic (created by senior software engineer Brian Whited—the creator of the Meander software that made Disney’s Oscar®-winning short “Paperman” possible) was developed that helped artists group the hairs on the characters’ heads and direct them in desired ways. “Once Tonic was up and running, our look artists, who groom the hair, were building a first pass at styles like Elsa’s detailed coronation braids in a few days, ” says character CG supervisor Frank Hanner. “Before Tonic, it would’ve taken several weeks.”...The volume-based sculptural representation of hair was essential in styling the culturally appropriate looks of the core characters. The existing comb/brush technique wouldn’t work for braids, with Tonic, artists could push and pull volumes of hair, which was effective for both the braided looks and others (like Anna’s serious bedhead style early in the film). But filmmakers didn’t reserve Tonic for the film’s female leads. It was also utilized for parts of the wolves and horses. Even Sven’s shaggy neck hair got the Tonic treatment. 

Snow and ice

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Creating a realistic snowy landscape involved intricate lighting techniques. The team emphasized the challenge of making the snow appear realistic without resembling concrete. They developed various subsurface techniques to convey the effect of light penetrating the snow and altering its color as it travels through. Maintaining the brightness was crucial to prevent the scenes from looking overly blinding, and also making the snow visually appealing and pristine without making it appear gray or dirty.[91] They aimed to depict realistic and diverse snow textures, including wet and fluffy ones, and how they interacted with the characters.[90] Because Frozen's entire stage is predominantly white, careful lighting techniques were used to maintain audience engagement with the characters while preventing them from feeling overwhelmed by the snowy backgrounds.[91] They used a "Frost Modifier" tool to cover the entire world in frost and encase everything in ice and the negative and positive space of snow flurries to produce intricate snowflake patterns.[92] Matterhorn was used to simulate snow's intricate behaviors, including sintering into snowballs,: It can be compressed into snowballs. All of these different effects are very difficult to capture simultaneously, so we needed a simulator to do it for us. We developed a snow solver technology called Matterhorn...  and Snow Batcher was used to create imprints in the snow and the debris created when trudging through them.: For more shallow snow, a special tool was developed called Snow Batcher, which helped artists create imprints in the snow and the bits of snowy debris that are created when trudging through the snow.  In addition, specialized shaders were used to apply textures such as frost onto ice.[90]: New shaders were created for “Frozen” to allow artists to apply textures like frost to the ice for a more naturalistic look. They also introduced tools called modifiers so artists could more easily change the look of the ice—from clear to frosty to clear again within a single sequence. 

Rendering refractive objects like ice takes extensive time in CGI,[93] and the scene where Elsa built her palace took 30 hours to render.[90]: : New shaders were created for “Frozen” to allow artists to apply textures like frost to the ice for a more naturalistic look. They also introduced tools called modifiers so artists could more easily change the look of the ice—from clear to frosty to clear again within a single sequence.   Lighting the clear ice required careful consideration of how it would reflect light realistically. The team faced challenges creating realistic visuals for snow, ice, and their correct combination in Frozen, aiming for a visually stunning and intricate ice environment without strictly adhering to physical accuracy.[94] To achieve this, they use various elements including geometric and painted snow, different snow shapes, and snow sparkles to create a stable, renderable, and art-directable appearance.[95] After receiving insights from physicist Dr. Kenneth G. Libbrecht who explained the formation of snow crystals at a molecular level, they approached this by focusing on the natural growth and shapes of these elements and avoiding morphing or artificial movements. The transparent ice frameworks and refractive ice pillars of Elsa's Ice Palace required intricate optical properties. Unlike snow, ice is optically active and its colors can shift based on the surroundings. It also refracts light into rainbow highlights, varies from transparent to opaque, features a smooth or patterned surface, and reflects and distorts the surrounding environments.[96]

Character rigging supervisor Carlos Cabrol explained that since they had never animated a snowman before, there was extensive back-and-forth collaboration with Olaf's animation. Buck was involved in the process, suggesting ideas such as rigging Olaf coming apart or having his head fall off. They aimed to enable Olaf to move and behave in ways that are unique to snowmen and beyond the abilities of humans and animals. However, animating Olaf was challenging due to his vague anatomy and the need to make him stand out in a snowy environment. To address the issue of blending in with the snow, subtle differences in Olaf's texture were introduced. Collaboration with the lighting team ensured that Olaf stood out distinctly amidst the snowy backdrop. Lighting supervisor Josh Staub acknowledged the difficulty of making Olaf stand out in a snowy environment, mentioning the use of traditional techniques like rim and bounce lighting. However, these applications were necessary to ensure Olaf does not appear like a cut-out and seamlessly integrates into the snowy surroundings.[97]

Music and sound design

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Songwriters Kristen Anderson-Lopez and Robert Lopez in 2019, and composer Christophe Beck in 2012

The songs for Frozen were composed by the Lopezs, a husband-and-wife team.[98] They were approached for the project by producer Peter Del Vecho, who had worked with them on previous Disney films.[99] Despite being busy with other projects, including The Book of Mormon, Lopez and Anderson-Lopez were eager to collaborate with Disney on a fairy tale musical, and they were convinced to join the team after a personal pitch in New York City.[100] Disney valued Anderson-Lopez's strong storytelling abilities, making the decision to work on the film an easy one for the couple.[101]

The creation of Frozen's music was a meticulous and collaborative process. The Lopezs worked remotely from New York City, engaging in frequent videoconferences with the production team.[102] The songs were recorded as demos in their home studio, and then discussed in videoconferences.[103] They composed 25 songs, but only one-thirds of which made it into the final version, with one recorded by Demi Lovato in the end credits.[104][103]

In addition to songs, the film featured a score by Christophe Beck, who incorporated regional instruments and vocal techniques inspired by Norwegian cultures.[105] Lee highlighted the importance of sound on the film's emotional impact, especially during pivotal moments, such as the complete silence after Anna freezes.[106] Foley work was done to capture snow and ice sounds, and various attempts were made to perfect the sound of Elsa's footsteps in the ice palace.[63]: page 16: Oh sure! The Olaf snow movement was a huge thing because he makes so many different sounds. There’s walking, several different footsteps, his body movement, squeaks, snow stuff, crunchy stuff, wood hands. So that added a huge amount of tracks just for all of his movement, as did the Sven stuff. There was his harness, his galloping, which we topped many times over with pitched-down versions, regular, snow, or deep snow versions. Elsa’s footsteps in the ice palace—they were very particular how they wanted that. She is wearing ice slipper high heels walking on ice. What does that sound like exactly? We did a whole trial of wine glasses on a block of ice, metal knives on a block of ice, but then certain times the ice would sound like concrete. Sometimes if you put glass on concrete, then it sounded more like ice. There was a whole exploratory—I think there were around eight different versions of the footsteps. We had a whole day on the stage where we played all the different versions, and came up with a mix of three of them that we ended up using. 

Localization

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Frozen was localized into 41 languages through the Disney Character Voices International.: How are we going to do that in 41 languages?" said Dempsey, senior vice president of creative for Disney Character Voices International.  Finding sopranos with vocal tones and ranges similar to Idina Menzel's was a challenge in this process.: For Dempsey, "Frozen's" music posed a special challenge: He had to mimic the vocal tone and texture of Menzel, a Tony Award-winning soprano famous for her penetrating pipes.  The translation of the film involved a focus on the lyrical intent, rhythm, and lip sync. Disney instructed the songwriters to simplify wordplay and puns to ensure global appeal.[107][108]: From his base in Burbank, Dempsey enlisted some women who are divas in their own countries, including Spanish pop singer Gisela, who voices the Castilian and Catalan versions, Naples-born singer and actress Serena Autieri (Italian), Netherlands musical theater star Willemijn Verkaik (German, Dutch), actress and pop singer Takako Matsu (Japanese), Mexican actress and singer Carmen Sarahi (Latin American Spanish), Malaysian reality TV star Marsha Milan Londoh (Malay) and Moscow jazz vocalist Anna Buturlina (Russian). "We’re trying to match the words and the lips -- the m's, b's and p's, " Dempsey said. "Some languages carry a little more of a staccato nature, others are more fluid and legato."  Casting for dubbed versions prioritized native speakers, and voices were matched as closely as possible to the original characters. For Elsa alone, about 200 singers auditioned for the 41 language versions.[109] The international cast involved over 900 individuals in approximately 1,300 recording sessions.[110]

Thematic analysis

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External videos
  "Let it Go"
  "Do You Want to Build a Snowman?"
  "For the First Time in Forever"

Frozen is interpreted by scholars and critics including Fariha Laili, Dana Stevens, and Christy Lemire as a critique of traditional gender norms and societal expectations. Laili said that the film promotes feminism and challenges traditional gender stereotypes including rational thought, meritocracy, and various aspects of socio-political life.[111] Elsa assumes her responsibility as queen and stresses understanding her powers and determining the future.[112] She denies Anna's marriage request to Hans because Anna had only just met him.[113] Anna assumes her responsibility to save Arendelle from Elsa's powers and denies male companionship.[114] They work together to defeat the antagonist, Hans.[115] In the song "Let It Go", Elsa undergoes a powerful transformative experience, shedding her societal constraints and embracing her power. She discards the gloves that her parents gave her to obstruct her powers, and she replaces her modest attire with a thigh-high slit dress and silver-white high heels. Both Stevens and Lemire said Elsa's transformation signifies her liberation and confidence. Stevens said the discarding of her gloves symbolizes her surging sense of empowerment, and Lemire connects her transformation to the film's overarching theme of embracing one's true identity.[116][117]

Eve Benhamou and Maja Rudloff said that, despite the emphasis on feminism, Frozen conveys a conflicted message about traditional gender binaries.[118][119] According to Benhamou, Elsa endured many instances of female suppression throughout her childhood and adulthood. Her parents exert patriarchal control over her by concealing and obstructing her powers before her transformation in "Let it Go".[120] Nevertheless, her powerful moments of freedom and agency in "Let it Go" are short-lived. She defends herself from attackers by using her powers in subdued ways and is halted when she becomes too threatening.[121] Rudloff said that although the film promotes feminist ideals of equality and female agency, it reduces them to postfeminist notions centered on looks, self-discipline, and gendered stereotypes. She explained that Anna is portrayed as naive and excessively concerned with romance, and Elsa's empowerment and self-realization contradict her physical appearance and sexualization.[122] Madeline Streiff and Lauren Dundes said Frozen conveys a limited message for young girls about feminism and heterosexual romance.[123] Elsa's powers evoke dominance and threat toward male characters,[124] and her lack of romantic pursuits reflects societal double standards of women's sexuality.[125] Similarly, Stevens said that it has a limited female self-actualization message, and she compared it to films like Grease (1978) and The Breakfast Club (1985) where the female character achieves empowerment through makeovers. Elsa's transformation differs in that it is not aimed at impressing a romantic interest, and Elsa remains without a romantic prospect by the end of the film.[116]: Now. I am not saying that all movies for children should be ideologically scrubbed clean of any hint of sexuality. Nor am I immune to the fantasy—one that’s surely not limited only to women—of vanquishing one’s demons and tapping one’s reserves of inner courage while also looking like a million bucks. But I know I’m not the only one who feels a familiar sense of deflation every time that pulse-racing song (delivered so gloriously by Menzel) culminates in a vision of female self-actualization as narrow and horizon-diminishing as a makeover. It’s a moment I recognize from too many movies in my own childhood—Grease was one, The Breakfast Club another—in which the “good girl” goes over to “the bad side” thanks to a quick cosmetic fix-up (Olivia Newton-John’s big slutty perm and skintight black pants! Ally Sheedy’s tragic de-Goth-ification at the hands of Molly Ringwald!). These moments always bugged me as a kid, because they seemed to be last-minute reversals of the foregoing movie’s message, which was that the character in question (Newton-John’s virginal Sandy, Sheedy’s glumly eccentric Allison) was fine just the way she was. To be sure, Elsa’s conversion into a glammed-out ice diva does differ in important ways from those earlier onscreen makeovers—for one thing, her transformation isn’t meant to impress any specific suitor, and in fact Elsa (unlike her younger sister, Anna) ends the movie without a romantic prospect on the horizon. 

Others said Frozen misrepresents traditional social identities. Su Holmes said it portrays a socially constructed nature of female identity and promotes thinness as beauty, raising concerns related to issues such as eating disorders.[126] Robert Geal said that Frozen contains bias in its portrayal of female and male homosexuality.[127] He said that Elsa transforms from a constrained individual to a confident and sexualized one in a way that empathizes the erotic aspects of femininity,[128] whereas Oaken's male same-sex relationship and family are depicted as non-aesthetic, disavowed, alterable, and of masochistic sexuality,[129] reflecting heteronormativity and the repression and marginalization of male homosexuality.[130] In The Atlantic, Akash Nikolas said that Disney films like Frozen subtly resonated with queer children by featuring protagonists who similarly defy societal norms and challenges traditional ideas of marriage. He said that these characters often present themselves as social outcasts due to their unconventional desires.[131] Geal argued that while the film may present a facade of progressiveness regarding homosexuality, it also reinforces conservative views on sexuality and gender.[132]

According to Geal, Stephani Linando, and Ryan Bunch, Frozen departs from traditional Disney fairytale conventions by featuring characters that challenge the instant and inevitable "true love", "happily-ever-after", the prince saving the princess through a "true love's kiss", and fulfillment through marriage tropes. Geal said Hans reveals himself as a villain who approaches Anna for personal gains rather than true love.[133] Linando said Elsa lacks a prince to give her "happily ever after" life.[134] She said that Anna fulfills the prince's true-kiss savior role by selflessly saving Elsa herself.[134] Bunch said that, unlike the traditional passive princess narrative where a princess's fulfillment ends at marriage, Frozen emphasizes sisterly bonds over heterosexual romance.[135] He said that it conveys the separation and confinement between Anna and Elsa and Elsa's fear of hurting others, especially Anna, as well as the themes of restraint and freedom. Anna is open and eager to explore the world, whereas Elsa seeks sanctuary in confinement and isolation.[136]

The song "Do You Want to Build a Snowman?" illustrates Anna and Elsa's relationship during their period of separation, blending their coming-of-age story with grief for their parents. An enthusiastic Anna repeatedly tries to persuade Elsa to come out and play, but Elsa remains confined and distant. Bunch said that the song incorporates traditional 'I Want' tropes from traditional Disney films, reflecting Anna's desire to escape confinement with her longing for love and companionship. He said that unlike traditional Disney heroines whose longing for adventure typically evolves into heteronormative romance, the film collapses both desires into one. In the song "For the First Time in Forever", Anna expresses extroverted excitement about open doors and windows, and being around people, but her fantasies later shift toward meeting her true love. Bunch said these themes mirrored past Disney film motivations; it intentionally lead the viewers to believe that the film is setting up expectations for another typical Disney romance narrative, but only to subvert these expectations later in the film when Anna reveals her desire for romantic love to be secondary for her profound longing to be reunited with Elsa.[137][138]

Marketing and release

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Producer Peter Del Vecho, Lee, and Buck at the film's premiere at the El Capitan Theatre in Hollywood, Los Angeles
An advertisement for the film on a WestJet Boeing 737-8CT at John F. Kennedy International Airport

Frozen's anticipation built with previews of the songs at the 2013 D23 Expo, where Idina Menzel performed "Let It Go" live.[139] Disney parks, including Disneyland, Disney California Adventure, and Epcot featured extensive promotions for the film.[140][141] Theme parks offered meet-and-greet sessions with Anna and Elsa cosplayers.[142] In addition, Disney Consumer Products launched a merchandise line ranging from toys to home décor on November 6, 2013.[143] A teaser trailer was released on June 18, 2013,[144] followed by the official trailer on September 26, 2013.[145]

Frozen was released theatrically in the US on November 27, 2013, and it was accompanied by a Mickey Mouse animated short film, Get a Horse!.[146] The film premiered at the El Capitan Theatre in Hollywood, Los Angeles, on November 19, 2013,[147] and had a five-day limited release there, starting from November 22, before going into wide release.[148][149] Various sing-along versions of Frozen were released internationally.[150][151]

As part of Disney's 100th anniversary, Frozen was re-released from August 4 to 17, 2023 in selected theaters across the US, as well as the UK from October 13 to 19, and Helios theaters in Poland on October 29.[152][153][154]

Home media

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Walt Disney Studios Home Entertainment released Frozen for digital download on February 25, 2014, and on Blu-ray and DVD on March 18.[155] Physical copies contain behind-the-scenes featurettes, deleted scenes, the film's teaser trailer, a "Let It Go" music video, and Get A Horse!.[156] Following an announcement on August 12, 2014, a sing-along reissue of Frozen was released via DVD and digital download on November 18, 2014.[157]

Frozen's home media release was very successful. It sold 3.2 million units on its first day, becoming one of the biggest home video sellers and Amazon's best-selling children's disc ever.[158] The digital release also became the fastest-selling digital release of all time.[159] In its first week, it outsold 19 other titles combined,[160] with 3,969,270 Blu-ray units sold, totaling $79,266,322.[161] It dominated the US home video sales charts for six out of seven weeks.[162] In the UK, it debuted at No. 1 and sold over 1.2 million units in three weeks, becoming the country's top-selling video title in 2014.[163][164] In Japan, it sold 2,025,000 Blu-ray/DVD combo sets in four weeks, becoming the fastest-selling home video and highest number of units sold in the first day and week.[165] By the end of 2014, it earned $185,483,063 in total US home media sales and had sold over 18 million units by March 2015.[166][167] Last instance of 2014 data: Dec 28 says is $185,483,063 and ref 97 indeed shows units over 18 million units

Lawsuit against Phase 4 Films

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In late December 2013, The Walt Disney Company filed a trademark infringement lawsuit in California federal court against Phase 4 Films, seeking an injunction against the continued distribution of the Canadian film The Legend of Sarila, which had been retitled Frozen Land in the US and had a logo similar to the Disney film.[168] By late January 2014, the two companies had settled the case; the settlement stated that the distribution and promotion of The Legend of Sarila and related merchandise must use its original title and Phase 4 must not use trademarks, logos or other designs confusingly similar to Disney's animated film.[169][170][171] Phase 4 was also required to pay Disney $100,000 before January 27, 2014, and make "all practicable efforts" to remove copies of Frozen Land from stores and online distributors before March 3, 2014.[170][169]

Reception

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Box office

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Frozen earned $401 million in the US and $933.3 million in other territories, for a worldwide total of $1.334 billion.[4] Deadline Hollywood calculated the film's net profit as over $400 million, placing it second on their list of 2013's "Most Valuable Blockbusters".[172] It became the fifth-highest-grossing film,[173] the highest-grossing animated film,[174][175] and the highest-grossing 2013 film.[176] The film grossed $110.6 million worldwide in its opening weekend.[177] On March 2, 2014, it surpassed the $1 billion mark.[178]

Bloomberg Business reported in March 2014 that analysts had estimated the film's total cost at somewhere around $323 million to $350 million for production, marketing, and distribution, and had also estimated that the film would generate $1.3 billion in revenue from box office ticket sales, digital downloads, discs, and television rights.[179]

Domestic

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Upon release, Frozen became very successful in the US. It broke record as Fandango's top advance ticket seller among animated films and later became the top-selling animated film in the company's history.[180][181] Its sing-along version was also the top seller on Fandango.[181] After its limited release at the El Capitan Theatre in Hollywood, it earned $243,390.[182] It grossed $15.2 million and topped pre-Thanksgiving Wednesday openings.[183] When it opened wide, the film made approximately $66.7 million in its first three days,[184] setting an opening weekend record for Walt Disney Animation Studios films and becoming the second-largest opening weekend for films that did not debut at first place.[185] It primarily drew a female audience, and approximately 81% of the viewers were families.[186][187] Frozen also set record for three-day Thanksgiving grosses.[188]

During its second weekend of wide release, Frozen declined 53% to $31.6 million, but jumped to first place, setting a record for the largest post-Thanksgiving weekend, ahead of Toy Story 2 ($27.8 million) released in 1999.[189] Frozen topped box office in its sixth weekend of wide release[190] and remained there for sixteen consecutive weekends[191][192] (the longest run by any film since 2002[175]) and achieved large weekend grosses from its fifth[193] to its twelfth weekend (of wide release), compared to other films in their respective weekends.[194]

In the US, Frozen is the sixth-highest-grossing 2013 film and[195] the highest-grossing 2013 animated film.[196] Excluding re-releases, it has the highest-grossing initial run among non-sequel animated films (a record previously held by Finding Nemo (2003))[197][198] and among Walt Disney Animation Studios films (a record previously held by The Lion King (1994)).[199] Box Office Mojo estimates that the film sold over 49 million tickets in the US.[200]

International

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Outside the US, Frozen is the fifth-highest-grossing film,[201] the highest-grossing animated film,[202] and the sixth highest-grossing 2013 film.[203] It is the highest-grossing animated film in South Korea, Denmark, and Venezuela.[204][205][206]

The film made its debut outside the US on the same weekend as its wide US release and earned $16.7 million from sixteen markets.[186] It topped the box office outside the US for two weekends in 2014; January 10–12 ($27.8 million)[207] and February 7–9 ($24 million).[208] Overall, its largest opening weekends occurred in China (five-day opening of $14.3 million);[209] Russia ($11.1 million, including previews from previous weekend), where the film set an opening weekend record among Disney animated films (ahead of Tangled);[210] and Japan (three-day opening of $9.6 million).[211] It set an opening weekend record among animated films in Sweden with $2.2 million debut.[212] In total earnings, the film's top market after the US is Japan ($250 million),[213] followed by South Korea ($56.5 million)[214] and the UK ($58 million).[215] Frozen is the second-largest foreign film both in terms of attendance and gross in South Korea,[216] the largest Disney release in 27 territories including Russia, China, and Brazil,[175] and the first animated film to earn more than ten million admissions.[217] In Japan, it is the third-highest-grossing film of all time, the second-highest-grossing foreign film (behind Titanic (1997)) and the highest-grossing Disney film.[218] It topped the country's box office for sixteen consecutive weekends[219] until being surpassed by another Disney release, Maleficent (2014).[220]

Critical response

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Frozen has an approval rating of No Wikidata item connected to current page. Need qid or title argument. based on No Wikidata item connected to current page. Need qid or title argument. professional reviews on the review aggregator website Rotten Tomatoes, with an average rating of No Wikidata item connected to current page. Need qid or title argument.. Its critical consensus reads: "Beautifully animated, smartly written, and stocked with singalong songs, Frozen adds another worthy entry to the Disney canon."[221] Metacritic (which uses a weighted average) assigned Frozen a score of 74 out of 100 scores based on 43 critics, indicating "generally favorable reviews".[222] Audiences polled by CinemaScore gave the film a rare "A+" grade on an A+ to F scale.[223]

Frozen's emotional depth and innovative storytelling were praised. Critics said that the film's animation resonated deeply with the story's poignant emotions including loneliness, fear, and struggle for self-control, and that it expertly captured Elsa's pain of isolation and Anna's endearing free spirit.[224][225][226] They said that it delightfully combined The Snow Queen fairytale with heartwarming moments, engaging songs, and compelling storytelling. The Telegraph and The Guardian said its nostalgic and forward-thinking storytelling embraced classic Disney elements while emphasizing the strong bond between the sisters.[227][228][229] Others described Frozen's narrative and animation as Disney's resurgence to the modern animated musical genre, which is marked by the departure from traditional princess film conventions, emphasizing sisterly loyalty and love over romance.[230][231][232]

Todd McCarthy, among others, praised the film for its clever combination of traditional fairy tale elements from The Snow Queen while addressing modern attitudes and female empowerment themes.[1][230][229] Alonso Duralde said that the film subtly addresses these themes without being overly didactic, and through its characters, humor, and songs, convey a strong message about embracing one's abilities and inner strength.[233] In The New York Times, Stephen Holden said it challenges the traditional Disney princess formula with unconventional characters and a more complex, empowering storyline. He praised the coherent storytelling and beautiful animation, which he described as a dreamlike world of snow and ice.[232]

Other publications including The Seattle Times and Variety said that Frozen falls short in delivering a deep and engaging experience.[234][235] Joe Williams said that the story lack a coherent story and sense and its emphasis on the theme of true love feels forced and repetitive.[236] Similarly, Lemire said that it conveys a somewhat conflicted message, and that its attempt to subvert traditional Disney princess conventions and promotes sisterly bonds seem somewhat cynical.[117] Empire criticized the sidelining of strong female characters for a male supporting cast where the primary comedy source comes from the interactions between male characters.[237] Reviewers for The Austin Chronicle and The Globe and Mail cited the lack of character depth, and warmth and catchiness, respectively.[238][239]

Controversies

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Frozen has been subjected to several controversies concerning sexism, LGBT portrayals, and the "Let it Go" song.[240][241][242] Allegations of sexism arose after Lino DiSalvo, the film's head of animation, made a statement about animating female characters being difficult due to the need to maintain their beauty.[240] Lee and a Disney spokesperson clarified that DiSalvo was referring to the technical aspects of CGI animation, and not comparing animating male and female characters.[10] DiSalvo later confirmed such, and he emphasized the difficulty of translating emotional range onto any character, regardless of gender.[243]

Some conservative Christian commentators decried the film as promoting homosexuality.[244][241] They stated that the themes of Elsa's being different from others,[244] her ostracism from society, and her independence and rejection of male suitors,[245][246] are metaphors for lesbianism.[247] Elsa's song "Let it Go" has been compared to the coming out of the closet expression.[241][245][247] Other viewers argued that Elsa represents a role model for LGBT youth.[241] These claims were met with mixed reactions from both audiences and the LGBT community.[241] When questioned about the indirect homosexual portrayals in the film, Lee refrained from giving a direct response, stating, "I don't want to comment... let the fans discuss. I believe it's their interpretation," but she emphasized the film's perspective should align with the attitudes of 2013, distinguishing it from films of the past.[244][248]

On November 24, 2017, musical artist Jaime Ciero sued Demi Lovato, Idina Menzel, Walt Disney Animation Studios and others involved with the song "Let it Go", accusing them of ripping off his 2008 single "Volar". In May 2018, it was ruled in court that the original songwriters, Bobby Lopez and Kristen Anderson-Lopez, would be released from the lawsuit due to the three-year statute of limitations for copyright claims. Because each replay or new performance of the song restarts the statute of limitations clock, Ciero was told he could amend his original complaint to address only those infringements within the three-year timeframe.[242] Ciero dropped the suit in May 2019.[249]

Accolades

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Frozen garnered awards and nominations in various categories. It won Best Original Song ("Let It Go") and Best Animated Feature at the 86th Academy Awards.[250] It became the first Disney film to win Best Animated Feature.[251] The film won five of ten nominations at the 41st Annie Awards.[252] At the 66th British Academy Film Awards, Frozen won Best Animated Film.[253] It won Best Animated Feature and Best Song ("Let It Go") at the 19th Critics' Choice Awards.[254] The film won Best Animated Feature Film and received a nomination for Best Original Song – Motion Picture ("Let It Go") at the 71st Golden Globe Awards.[255]

Legacy

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Cultural impact

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Elsa and Anna cosplayers doing a Meet and Greet at Disneyland in 2013

In early 2014, the film garnered widespread attention from children in the US[256][257][258] and the UK.[39][259] Described as "Frozen-mania" by The Guardian,[39] it included repeated viewings, song memorization and persistent singing, causing some distress to parents, teachers, and classmates. This phenomenon was noted by various journalists and notable individuals, including then-UK prime minister David Cameron[260] and actors Amy Adams,[261] Ben Affleck, Kevin Costner,[262] and Vince Vaughn,[263] who found themselves dealing with their children's keen interest in the film. Frozen's immense popularity and its status as a popular culture phenomenon was attributed to its ability to capture the spirit of classic Disney animations, offering strong female characters, catchy songs, and a unique subversion of the traditional villain role. The absence of a typical villain, relatable sibling relationships, and themes of self-acceptance and sacrifice also resonated with audiences globally.[a] The film's popularity in Japan, where it also became a phenomenon,[41] was attributed to its appeal to teenage girls, the strong reputation of Disney's brand, and the careful selection of voice actors for the Japanese version.[268]

When Lopez and Anderson-Lopez were asked about the film's success in an NPR interview, they expressed surprise, emphasizing that they had no way of anticipating the immense popularity their work would achieve, stating they were simply focusing on telling a compelling story.[269] Time columnist Joel Stein shared his son Laszlo's frustration with the ubiquitous presence of Frozen in his life, prompting a Skype call with Bell after Laszlo questioned him why the film was made. When Laszlo asked if Bell knew the impact the film would have, she humorously replied that she did not anticipate people not "letting it go."[270] Lee also acknowledged the enduring popularity of Frozen, transitioning from gratitude to apologies as people expressed continued obsession with the film and its songs.[271][272] She used the film's female characters to inspire her daughter, who faced bullying, drawing parallels to the resilience of Frozen's characters Anna and Elsa, as Lee herself had experienced bullying in her childhood.[271]

In a 2014 mid-year report of the 100 most-used baby names in the UK by BabyCenter, 'Elsa' ranked 88th, making its first appearance on the site's chart. Sarah Barrett, managing director of BabyCenter, noted that while the film's popular heroine is called Anna, 'Elsa' offers a more unique and strong female role model name.[273] Parents revealed that their naming choices were influenced by the film's characters, particularly Anna and Elsa's sibling relationship. Disney UK's Vice President, Anna Hill, expressed delight that Elsa became a popular baby name, attributing it to the character's resilience and the powerful family bond depicted in Frozen.[273] The film was the top entertainment Google Search of 2013. In 2014, on the Google Play Store, Frozen and its soundtrack album were named 'Movie of the Year' and 'Album of the Year', respectively, signifying their best-selling status in their respective categories.[274][275]

Franchise

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In January 2014, Disney CEO Bob Iger announced plans to adapt Frozen into a Broadway stage musical.[276] Within a single business quarter, Iger shifted his perspective on Frozen, initially acknowledging its "franchise potential" in February 2014, to later stating in May 2014 that it was "probably one of Disney's top five franchises".[277] The film's immense popularity led to a severe merchandise shortage in the US[278] and other countries in April 2014,[279] with limited-edition Frozen dolls and costumes reselling for over $1,000 on eBay.[280] Disney sold over three million Frozen costumes in North America alone by November 2014.[281] Meet-and-greet wait times at Disney Parks exceeded four hours, leading to the extension of the film promotion and the introduction of a temporary event called Frozen Summer Fun at Disney's Hollywood Studios.[278][282] Disney later announced the closure of Epcot's Maelstrom ride and its replacement with a Frozen-based attraction, which opened in early 2016.[283] In May 2016, a live Frozen musical stage show premiered at Disney California Adventure.[284] Random House sold over 8 million Frozen-related books by August 2014,[285] and tour operators like Adventures by Disney added more Norway tours due to rising demand in 2014.[286]

 
The directors, composers, producers, and several of the film's stars at the "Frozen FANdemonium: A Musical Celebration" presentation at the 2015 D23 Expo to celebrate the film's songs

Meanwhile, the producers of Once Upon a Time (made by Disney-owned ABC Studios) independently conceived of and obtained authorization from both ABC and Disney for a Frozen-inspired crossover story arc in the show's fourth season, which was first revealed at the end of the show's third season in May 2014, and premiered in September 2014.[287][288] On September 2, 2014, ABC broadcast The Story of Frozen: Making a Disney Animated Classic, a one-hour making of television special.[289][290][291] At the end of the special, Lasseter announced that the production team would be reuniting to make Frozen Fever, a short film which debuted in theaters with Disney's Cinderella on March 13, 2015.[292][293] On September 4, 2014, Feld Entertainment's Disney on Ice presented the world premiere of a touring ice skating show based on the film at Amway Center in Orlando, Florida.[294][295]

During the broadcast of The Making of Frozen: Return to Arendelle on ABC, it was announced that a holiday special titled Olaf's Frozen Adventure was in production and set for release in winter 2017. Lasseter revealed that the 21-minute special would have a limited theatrical release.[296] It premiered in theaters with Pixar's Coco on November 22, 2017,[297] and made its television debut on ABC on December 14, 2017.[298] In addition, Arendelle was featured as a world in the 2019 video game Kingdom Hearts III, which adapts the plot of the film. The film's voice cast reprise their roles for the game.[299]

Frozen was followed by Frozen II, released on November 22, 2019.[300] It surpassed the box-office take of Frozen,[301] and received a similarly positive critical and audience response.[302] A third film is in development as of 2023.[303]

See also

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Notes

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  1. ^ Attributed to multiple references:[39][264][265][266][267]

References

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  2. ^ "Frozen". Ontario Film Review Board. November 12, 2013. Archived from the original on January 16, 2014. Retrieved January 15, 2014.
  3. ^ Smith, Grady (November 27, 2013). "Box office preview: "Frozen" ready to storm the chart, but it won't beat "Catching Fire"". Entertainment Weekly. Archived from the original on November 28, 2013. Retrieved November 29, 2013.
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  5. ^ Truitt, Brian (November 20, 2019). "Here's what you need to know about Anna, Elsa, Kristoff and Olaf going into Frozen 2". USA Today. Archived from the original on November 21, 2019. Retrieved October 18, 2023.
  6. ^ a b Lee 2013, p. 2.
  7. ^ Anna, Young. "Livvy Stubenrauch movie reviews & film summaries". RogerEbert.com. Archived from the original on April 2, 2023. Retrieved October 18, 2023.
  8. ^ Chai, Barbara (November 26, 2013). "Frozen: Music for the Whole Family". The Wall Street Journal. Archived from the original on January 27, 2015. Retrieved October 18, 2023.
  9. ^ Lee 2013, p. 9.
  10. ^ a b Wloszczyna, Susan (November 26, 2013). "With Frozen, Director Jennifer Lee Breaks the Ice for Women Directors". IndieWire. Archived from the original on February 8, 2014. Retrieved January 8, 2014.
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  13. ^ Lee 2013, p. 10.
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  32. ^ Solomon 2013, p. 10 : "Much of this research was done for a proposed live action/animation biography of Andersen. Discussions about either a biographical film or a feature-length collection of Andersen’s fairy tales began in late 1937, shortly before Snow White and the Seven Dwarfs was released. Samuel Goldwyn was also interested in Andersen's life, and in March 1940, Walt Disney suggested a co-production, with his studio animating the fairy tales and Goldwyn providing the live action sequences. Development continued into 1942, but the project was shelved when Disney became too busy producing military training films, educational shorts for the Office of Inter-American Affairs and was never made."
  33. ^ Solomon 2013, p. 10.
  34. ^ Solomon 2013, p. 11.
  35. ^ Solomon 2013, p. 6.
  36. ^ Stewart, James B. (2005). DisneyWar. New York: Simon & Schuster. pp. 436–438. ISBN 978-0-684-80993-9. Retrieved May 15, 2015.
  37. ^ Issacson, Walter (2011). Steve Jobs (1st paperback ed.). New York: Simon and Schuster. pp. 435–436. ISBN 978-1-4516-4854-6.
  38. ^ Price, David A. (2009). The Pixar touch: the making of a company (1st ed.). New York, NY: Vintage Books. ISBN 978-0-307-27829-6.
  39. ^ a b c d e Lynskey, Dorian (May 13, 2014). "Frozen-mania: how Elsa, Anna and Olaf conquered the world". The Guardian. Archived from the original on May 13, 2014. Retrieved May 14, 2014. A version of The Snow Queen had been trapped in development hell for decades. As far back as the 1940s, Disney had tried and failed to update Hans Christian Andersen's dark fable. In the late 90s, off the back of the so-called Disney Renaissance (the creative rebirth running from The Little Mermaid to Tarzan), the company attempted it again and shelved it again. In 2008, Chris Buck, a veteran animator and director of Tarzan, pitched it to John Lasseter, chief creative officer of Disney Animation, as a traditional hand-drawn animation called Anna and the Snow Queen, with Elsa as a villain trying to thwart Anna's love for Prince Hans. That stalled, too, but bounced back as Frozen with Jennifer Lee (who wrote Wreck-It Ralph) as screenwriter and co-director, and some crucial twists
  40. ^ Solomon 2013, p. 11, “The Snow Queen” began its metamorphosis into Frozen when Disney/Pixar chief creative officer John Lasseter contacted his friend Chris Buck about returning to the studio. Buck had been working at Sony, where he’d recently directed Surf’s Up (2007). “I pitched several ideas to John, and ‘The Snow Queen’ was one that he’d been interested in for a while,” says Buck. “I pitched a musical version of it that he seemed excited by. So we started developing that project. This was back in 2008, around September.”.
  41. ^ a b Williams, Mike P. (April 8, 2014). "Chris Buck reveals true inspiration behind Disney's Frozen (exclusive)". Yahoo! Movies. Yahoo! Inc. pp. "Buck doesn't cite his initial inspiration as anything 'The Snow Queen'-related, either. "An early idea I pitched was to do something different on the definition of true love. Disney had already done the 'kissed by a prince' thing, so thought it was time for something new, " he recalls. "The idea really sparked with a lot of us, like John (Lasseter) and Ed (Catmull). The idea of the protagonists actually came later on in development.". Archived from the original on July 15, 2014. Retrieved April 8, 2014.
  42. ^ Condon, Seán Francis (November 27, 2013). "Interview: Frozen's Josh Gad". MSN Canada Entertainment. Microsoft Corporation. Archived from the original on January 7, 2014. Retrieved June 20, 2014. "I was originally involved in the project when it was a 2D effort and it was called Anna and the Snow Queen, and it was completely different. Completely different. Megan Mullally was playing Elsa and it wasn't really about sisterhood at all. I think it had more to do with the source material of Hans Christian Andersen's story. When I did that version, Olaf was a different character entirely."
  43. ^ de Semlyen, Nick (June 22, 2010). "Exclusive: The Lion King To Go 3D". Empire. Archived from the original on October 21, 2013. Retrieved November 27, 2013. Less good news with another movie on his slate: The Snow Queen, an adaptation of a classic Hans Christian Andersen fairy tale that was rumoured to be Disney's next hand-drawn animation. Consider those rumours now well and truly nixed. "It's actually been tabled right now," explains Hahn. "It's on the low shelf – we can't reach it! But seriously, we don't have the story. It's a bit like Beauty And The Beast, which sat there for years. We cracked Beauty finally by putting in the objects and creating more plot. The Snow Queen we've had a lot of trouble with and I've spent years on it. I love it and I think it's one of the last great fairy tales. It's kind of crappy that it's just sitting there right now."
  44. ^ Fischer, Russ (January 11, 2012). "Disney's "Frozen", Formerly "The Snow Queen", Will Be CG Rather Than Hand-Drawn". /Film. Archived from the original on January 5, 2013. Retrieved January 12, 2012. At the end of last year, Disney announced that a film called Frozen would be the studio's animated offering for the Holiday 2013 window, and we quickly learned that the film is the latest incarnation of a project once called The Snow Queen, which has been in development for many years... Disney has confirmed today, however, that Frozen will not be hand-drawn; the movie will be a 3D CG animated feature, and presented in stereoscopic 3D in theaters.
  45. ^ a b c d "Exploring the Songs of "Frozen" with Kristen Anderson-Lopez '94". YouTube. Williams College. June 30, 2014. Archived from the original on November 5, 2015. Retrieved August 10, 2014.
  46. ^ a b Gilchrist, Todd (March 5, 2012). "Kristen Bell Set to Star in Stage Adaptation "Some Girls", Animated Feature "Frozen" (Exclusive)". The Hollywood Reporter. Archived from the original on March 7, 2012. Retrieved March 5, 2012. Directed by Chris Buck (Surf's Up), the film is being produced by John Lasseter and Peter Del Vecho.
  47. ^ a b c d Laporte, Nicole (February 28, 2014). "How Frozen Director Jennifer Lee Reinvented The Story Of The Snow Queen". Fast Company. Archived from the original on August 9, 2017. Retrieved November 10, 2023. In hindsight, Lee says it was a completely "organic" process that landed her on Frozen, first as a writer, then as a co-director with Chris Buck. (She segued to the film after co-writing Wreck-It Ralph with her friend and fellow Columbia alum Phil Johnston.) But it also has a lot to do with Lee's abilities as a strong collaborator–key in making animated films, which involved hundreds of artists, writers, and producers, and take several years to complete–who can nonetheless champion her own ideas, many of which were key in bringing Frozen to life... It was much more of an action adventure, and we really wanted to go more musical, with more comedy. I made a commitment to writing the script with the songwriters, where you're going back and forth a lot.
  48. ^ a b c d e f g August, John; Aline Brosh McKenna (February 1, 2014). "Episode 128: Frozen with Jennifer Lee – Transcript". Scriptnotes. johnaugust.com. Archived from the original on March 26, 2014. Retrieved March 27, 2014.
  49. ^ Fleming, Mike (November 29, 2012). "Jennifer Lee to co-direct Disney Animated Film "Frozen"". Deadline. Archived from the original on December 1, 2012. Retrieved November 29, 2012. BURBANK, Calif. (November 29, 2012) — Walt Disney Animation Studios (WDAS) taps Jennifer Lee to join Chris Buck at the helm of its 53rd full-length animated feature "Frozen," which is slated for the big screen on Nov. 27, 2013. Lee, who has contributed to the film's screenplay, is one of the screenplay writers of this year's hit arcade-hopping adventure "Wreck-It Ralph.
  50. ^ Sarto, Dan (November 7, 2013). "Directors Chris Buck and Jennifer Lee Talk 'Frozen'". Animation World Network. Archived from the original on March 27, 2014. Retrieved March 27, 2014.
  51. ^ Brew, Simon (December 12, 2013). "A spoiler-y, slightly nerdy interview about Disney's Frozen". Den of Geek!. Dennis Publishing. Archived from the original on March 30, 2014. Retrieved April 5, 2014.
  52. ^ "'Frozen' Original Ending Revealed for First Time". Entertainment Weekly. Archived from the original on October 19, 2023. Retrieved October 19, 2023. Scattered information; read the entire EW article
  53. ^ "'Frozen' secrets revealed: How the movie was originally going to end". ABC News. Archived from the original on October 19, 2023. Retrieved October 19, 2023.
  54. ^ a b Lowman, Rob (November 19, 2013). "Unfreezing "Frozen": The making of the newest fairy tale in 3D by Disney". Los Angeles Daily News. Archived from the original on December 3, 2013. Retrieved November 21, 2013. "Up until then, Elsa was pretty much a straightforward villain," says Lee. "We wanted to know more about her, what she would be like if she could be herself without fear. After that, she was much more complex, more interesting and sympathetic."
  55. ^ Everett, Lucinda (March 31, 2014). "Frozen: inside Disney's billion-dollar social media hit". The Daily Telegraph. London. Archived from the original on April 1, 2014. Retrieved April 1, 2014. But the Lopezes saw things differently. To them, Elsa was simply a scared girl struggling to control and come to terms with her gift. So when they came to write her big number Let it Go, they decided to create what Anderson-Lopez has described as "an anthem that said, 'Screw fear and shame, be yourself, be powerful.
  56. ^ "Why Disney rewrote Frozen around the Lopez song 'Let it Go'", Youtube, Broadcast Music, Inc., archived from the original on October 19, 2023, retrieved October 19, 2023
  57. ^ Solomon 2013, p. 66, When he appears during the coronation sequence, Hans embodies courtly charm. His polished looks and manners immediately win Anna’s attention. “Hans is this handsome, dashing character: You want the audience to fall in love with him and the relationship he could have with Anna,” says supervising animator Hyrum Osmond. “Then we've got to turn him around toward the end and make it a huge surprise. The crew is having fun with the contrasts between the character's two personalities.” “After they screened the film, a lot of the animators said, ‘Il want to animate Hans,” Di Salvo chuckles. “He begins as the knight in shining armor, and the audience thinks, ‘Anna's going to end up with this guy. He’s perfect. But he’s a chameleon who adapts to any environment to make the other characters comfortable. Then you have that awesome emotional turn at the end.”.
  58. ^ Barnes, Brooks (November 9, 2014). "Disney Film Boss Ousted by Warner Finds Vindication in Success". The New York Times. Archived from the original on November 10, 2014. Retrieved November 9, 2014. One example: While watching an early cut of "Frozen," Mr. Horn worried that Anna, one of the princess sisters, would confuse and annoy viewers if she was both engaged to Prince Hans and flirting with the burly Kristoff. The scene was changed.
  59. ^ a b Flynn, Sean (February 16, 2014). "Is it her time to shine?". The Newport Daily News. Archived from the original on November 11, 2023. Retrieved November 11, 2023. It's like I'd lost her, and then all of a sudden we kind of arrived at the same place together," Jennifer said about her sister. "And then from that moment on, she was like my champion. She was always there for me. And it was — that scene, having to like lose each other and then rediscover each other as adults, that was a big part of my life.
  60. ^ Donnelly, Matt (December 5, 2022). "'Kill the Snowman': 'Frozen' Director Admits She Wanted to Axe Olaf". Variety. Archived from the original on January 30, 2023. Retrieved October 18, 2023. Luckily, a "sneaky" staff animator had worked out a three-page script treatment with Gad in mind after he impressed filmmakers with a late night TV appearance. Lee found him irresistible, and the rest is box office history.
  61. ^ Solomon 2013, p. 155, Of all the challenges the artists faced on Frozen, perhaps the most daunting was the time in which it had to be made. The crew “cracked” the story in November 2012, barely a year before the film was slated for release. Some of the best-loved animated films of recent years were completed on short schedules, notably Toy Story 2, Ratatouille, and Tangled. Some artists feel a lack of time forces them to concentrate harder, to trust their initial impulses and avoid overthinking. But a short schedule also means late nights, overtime, and stress..
  62. ^ "Kristen Bell: Pregnancy Made My Voice Deeper". People. Archived from the original on October 19, 2023. Retrieved October 19, 2023. "The pregnancy did change my voice. It made it deeper," she said. "There were more womanly tones when I did one recording while I was extremely pregnant. After I had the baby, I had to go back and re-record those lines so they matched. There was something different about my voice."
  63. ^ a b Tucker, April (Spring 2014). "Cinema Audio Society Awards Brings Us Together Again: Motion Picture – Animated, Frozen" (PDF). CAS Quarterly: 15. Archived (PDF) from the original on May 29, 2014. Retrieved May 29, 2014. We re-recorded her probably 20 times, but not because her voice changed. It was mostly because the story changed.
  64. ^ Wilkinson, Amy (August 28, 2013). "Kristen Bell: "Frozen" Is "The Kind Of Movie I Wanted To See As A Kid"". MTV News. Archived from the original on October 30, 2013. Retrieved October 22, 2013. 'I always loved Disney animation, but there was something about the females that was unattainable to me,' actress tells MTV News.
  65. ^ Cite error: The named reference Chance was invoked but never defined (see the help page).
  66. ^ World Entertainment News Network (November 1, 2013). "Tangled – Secret Phone Recording Helped Idina Menzel Land New Disney Role". ContactMusic.com. Archived from the original on November 2, 2013. Retrieved March 23, 2014. Menzel tried out for a leading role in the 2010 fairytale film by performing an acoustic version of Blackbird by The Beatles. She didn't get the part – but a casting director was such a fan she secretly recorded the performance and then used it to persuade film bosses that the Rent star was the perfect choice for the role of Elsa in new movie Frozen.
  67. ^ Solomon 2013, p. 65, Early costume designs placed the story in the late 1600s (left). For a more classical fairy tale look, it was decided to place the narrative in the 1840s. The fashions of this time period had a more streamlined and crisper aesthetic than previous eras, which better suited the overall design approach of the film. Early costume designs placed the story in the late 1600s (left). For a more classical fairy tale look, it was decided to place the narrative in the 1840s. The fashions of this time period had a more streamlined and crisper aesthetic than previous eras, which better suited the overall design approach of the film..
  68. ^ Solomon 2013, p. 73, “We're bringing out the fine details in the embroidered clothing: if you look closely you can almost see individual stitches,” Mohit Kallianpur adds."We're trying to mimic the properties of different kinds of materials. if it’s silk, is it a rougher, raw silk or a shinier, smoother silk? That’s going to give us a reallly rich look.” The artist never lost sight of the fact that the costumes, however intricate, had to support the characters and the story. Ying says, “Whenever Mike Giaimo would doa color pass for us on the costumes, his choices were bold and the shapes were completely readable. No matter how much detail you put on them, \ it would never overwhelm that basic graphic shape.”.
  69. ^ Solomon 2013, p. 75, In keeping with the traditional Norwegian aesthetic, most of our fabric in Frozen is wool. For accents we used velvet, linen, and silk. Since wool is not highly reflective, it provided a great base for saturation. When it came to finessing the details and rosemaling of Frozen costumes, Brittney Lee's keen and deft touch was essential..
  70. ^ Solomon 2013, p. 73, The artist never lost sight of the fact that the costumes, however intricate, had to support the characters and the story. Ying says, “Whenever Mike Giaimo would doa color pass for us on the costumes, his choices were bold and the shapes were completely readable. No matter how much detail you put on them, \ it would never overwhelm that basic graphic shape.”.
  71. ^ Solomon 2013, p. 49, There was a pre-Norway film and a post-Norway film,” says production designer David Womersley."We were all struck by how much pattern there was. There were textures and shapes that were definitely Norwegian—in the carving, in the furniture, in the buildings, in everything. We want to bring that bold Norwegian patterning into our world, but control it, so it doesn’t overwhelm the characters.” “Norway was a bonding experience: | don’t think I've ever been on atrip with more loaded into it," agrees Keene. “We needed to find out what was what, what , how did people live. There's, the time period was, what did the costuming look Ii only so much you can get off the Internet. You do your best, but until you get there and see it and talk to people, you don't understand it.”.
  72. ^ Solomon 2013, p. 75, In keeping with the traditional Norwegian aesthetic, most of our fabric in Frozen is wool. For accents we used velvet, linen, and silk. Since wool is not highly reflective, it provided a great base for saturation. When it came to finessing the details and rosemaling of i. Ay) Frozen costumes, Brittney Lee's keen and deft touch was essential,.
  73. ^ Solomon 2013, p. 36, Norwegian rosemaling is extremely complex and ornate," says Giaimo, “I realized I'd need to homogenize the hues and make it our own. John Lasseter said he loved the rosemaling concept, but, ‘Make sure if you apply it to characters, | took that to heart to create a look that's they don't look like walking doil fresh and lively, but not too dense.”.
  74. ^ Solomon 2013, p. 41, We noticed in the older parts of Balestrand nothing is parallel. Over the decades, things have settled. We're bringing that into our movie: Everything in the town isn’t perfectly symmetrical, which works really well with the caricatured characters..
  75. ^ Solomon 2013, p. 42, ‘The artists were particularly struck by the Norwegian stave churches, flamboyant wooden structures that date back to the twelfth century. Giaimo praises Womersley’s design for the castle of Arendelle, which “looks like a castle, but its roof line and detailing riff on a stave church. No one else could have pushed the shapes inspired by the stave churches the way David did. When | saw the castle taking shape, | knew how far we could push the characters and marry them to this world.”.
  76. ^ Solomon 2013, p. 149, In the normal winter, you'll have a lot of snow forms. But the harsher Elsa-caused winter is going to have frozen fjords and more extreme forms of ice. We're looking at some of the Great Lakes lighthouses: when they get continually sprayed, ice forms on top of ice, and you get these really bizarre-looking almost, ice sculptures..
  77. ^ Solomon 2013, p. 130, They spent a lot of time looking at snowflakes before we even started on the movie. Elsa’s magic ice follows those snowflake patterns, but onamuch bigger scale, The way it grows is less chaotic and more melodic or rhythmic..
  78. ^ Solomon 2013, p. 124, There's ice that's clear and very reflective, and there's ice that has frost on it, magical ice. There are two different sets of shapes and colors. Deep ice has really through which you see nothing," comments visual development artist jim Finn. strong blues as opposed to thin ice, which is grays and whites. | focus on the “Well have areas we want clear, so the audience can see distorted images or colors and the shapes more than the physical properties of ice.” reflections. There'll also be frosted parts we don't want the viewer to see through. As Loftis notes, there had to be natural ice and magical ice, but both had Sometimes it depends on how cold we want it to be. When it's colder, you don't see to appear equally believable. To keep the audience in the world of the film, the wetness or reflections. It's going to reflect the story and how we want it to feel. artists felt they had to avoid effects that felt too familiar. "The real properties of ice and snow are ultimately less important than how “Michael Giaimo and | didn’t want to have that ‘Christmas Special snow,’ they can be used to advance the story. Visual development artist Cory Loftis where a giant snowflake wipes the screen,” says effects artist Dan Lund. adds, We have normal ice, just like we have in the real world, then there's Elsa’s "Snowflakes are beautiful, but unless you zoom in, you never see them..
  79. ^ Solomon 2013, p. 127, Womersley stresses that the palace itself reflects Elsa's personality and shifting mood: “In Elsa's song, she goes from being angry and aggressive to more content and lyrical, She's gone to the top of the mountain; she's free to be her real self. Her initial reaction may be aggressive, but once she feels content, theiceand snow structures she creates will become more sculptural.”.
  80. ^ Solomon 2013, p. 51, You have to make sure that the wallpaper doesn't come in front of the character, It's a lot of lighting and use of shadow, taking hues back. We'll be dialing all kinds of things, the light, the look, the way in which certain objects are decorated, the textures and patterns. You have so many dials that you can work with to make everything harmonize..
  81. ^ Solomon 2013, p. 6, To direct the art of the film, Chris was clear from the beginning that he wanted Mike Giaimo. Mike went to Cal Arts along with Chris and me. His graphic sense of design is just phenomenal, and his use of color has always been innovative. But he had never worked in computer animation, so | was very excited to see how he would take on the medium..
  82. ^ Solomon 2013, p. 34, “I thought this would be a great opportunity to create a beautiful environment as well as a stunning CG (computer graphics) costume film where the design conceits of the environment and characters talk to each other and share a mutual design language,” Giaimo continues. “I found this potential to be one of the most intriguing aspects of Frozen. When | started down that road | was told that this level of complexity and attention to detail from costume to character had never been done before in a CG film, but everyone was game. Sometimes it’s good to be alittle naive!”.
  83. ^ Solomon 2013, p. 99, “| can draw Kristoff pulling his hat on and off, but in CG, you have to make the rig able to do that,” he cautions. "The hat becomes a piece of cloth, and you have to decide how to detach it from his head. These tests reveal things that they may need to address later on. They can save time by rigging it to do the things in the test.”.
  84. ^ Solomon 2013, p. 126, In a live action film, you may have real snow falling on a real actor, and there's believability right off the bat. We're taking believability one step further away by having characters break into song, and build palaces. It demands a higher level of believability, not reality, so that the singing and dancing doesn’t take you out of the story. You would think it would be liberating, but it’s a bigger hurdle: it makes believability that much more important..
  85. ^ Solomon 2013, p. 72, “We looked at a lot of reference that had very complex rosemaling patterns,” says visual development artist Victoria Ying.”We had to figure out a way to translate it into a more graphic cartoony world. It was a difficult translation, because you want to keep all characteristics but still make it feel caricatured and readable.”.
  86. ^ Solomon 2013, p. 127, "Usually effects are just applied to the film at a specific point,” he continues. “But after Mike talked about what he hoped the film could be, we came up with effects that had a beginning, a middle, and an end: it felt more like you were pitching a story point than just an effect. That was pretty exciting.”.
  87. ^ Solomon 2013, p. 140, Rigging both Anna and Elsa presented a unique challenge as both the film’s heroines and also as sisters. They both shared a high level of performance and appeal, and yet each ter required subtle refinement to ensure their distinctive personalities emerged, —Joy Johnson, character technical director.
  88. ^ Solomon 2013, p. 143, Modeling characters at Disney has always been a challenge. Modeling characters on Frozen like the snow monster was no exception. How do the icicles penetrate into the snow? How hard do we make the edges and plain breaks so they light correctly? How do we prevent this guy from feeling like he was wearing a rubber suit? We must have modeled at least four different monsters before landing this guy. Luckily here at Disney we have some of the best artists in the biz so I'm confident he will put the scare into all the kids watching, - Chad Stubblefield, character modeling supervisor.
  89. ^ Solomon 2013, p. 138, Michael Giaimo used the word panache to describe the design sense on Frozen, and that's Elsa to aT, stylish, original, and confident. From the column dress complete with leg slit and train, to the ethereal frost cape that needed to be magical yet believable, to her gorgeous almost flame licked hair, Elsa makes a statement. She embodies many of the challenges for simulation team Frozen. Strong sleek shapes, that have purpose and clarity and motion, while accenting and supporting the characters physical and emotional performance. - Keith Wilson, sim lead Elsa is like a walking special effect, with a costume design that refracts and reflects like an ice crystal. Her subtle mauve crew neck top, icy blue cape, and warm blue dress are an exquisite symphony of color, pattern, texture, and form, - Michael Giaimo, art director.
  90. ^ a b c d Levy, Emanuel (December 26, 2013). "Frozen: Setting and Visual Look". Archived from the original on February 24, 2014. Retrieved October 30, 2023.
  91. ^ a b Solomon 2013, p. 92, an n essential element in creating a believable snowy landscape is the way it's lit. Look and lighting director Mohit Kallianpur states, “Snow is a huge challenge for us. We haven't done this amount before in a movie, and making it look believable is not easy: it can easily go from snow to concrete. The subsurface techniques we're developing will give us a feeling of light hitting the snow and traveling through it. As light travels deeper into snow, the red wavelengths get absorbed, so it gets bluer. We want to capture those phenomena.” Finn notes, “Depending on the time of year, the sun only goes so high in the sky. We want to make it seem like winter, so the sun will probably lay pretty low on the horizon, Whatever the story and emotion require, we'll do, even if we have to cheat.” In earth science classes, students learn about albedo, the amount of sunlight snow refects; skiers and snowboarders know about it fristhand. Kallianpur continues, "We don't want audiences to have to wear sunglasses because of how much snow we have in a frame. But if snow doesn’t have a certain level of brightness, it starts going gray and looking dirty. All of our snow is going to be beautiful and clean.” "During the day, snow can be very high contrast, but we have to give the audience time to rest their eyes,” concludes lighting supervisor Jason MacLeod. "We have night scenes; we have interiors. On Bolt, we had one white dog and the background lit pretty well. We have the opposite problem: The entire stage will be white to some degree. It'll be a lot of work to keep the audience interested in the characters and not overwhelmed by the backgrounds.”.
  92. ^ Solomon 2013, p. 95, 127, The scope of the landscape is enorm There are entire mountain ranges. iegel had the idea to build a “Frost Modifier,” which has been really useful not only for LookDev but also for EFX. With this new technology we were able to frost the entire world and encase everything in ice...The negative and positive space of snow flurries to create snowflake shapes. We also came up with the idea of having Elsa havea signature snowflake shape. If you saw it anywhere in the movie, you'd know it wasn't nature, it was her.”.
  93. ^ Solomon 2013, p. 127, Making those visions appear on the screen would require hours of rendering time. Lighting supervisor Hans Keim sighs, “The ice palace is going to be a major challenge for us, since refractive objects take a really long time to render in CG. How we're going to light itis another challenge, because it's clear ice. How does itreflect the light?”.
  94. ^ Solomon 2013, p. 127, “Hopefully welll find a way to bend the rules of physics so we havea rich, believable world that the viewer feels is ice, but without paying the freight for physical accuracy.” adds lighting supervisor Jason MacLeod. “The computer offers the ability to pick and choose from the rich complexity of the natural world.”.
  95. ^ Solomon 2013, p. 128, LookDev was faced with the challenge of realizing the looks for snow, ice, and the combo of snow and ice. There are so many aspects to the looks as well. such as geometric snow next to painted snow, snow shapes, and snow sparkles. We wanted to make sure the look was stable. renderable and art-directorable..
  96. ^ Solomon 2013, p. 121-122, Following john Lasseter’s insistence on research and truth in materials, the Disney artists took what amounted to a crash course in meteorology. Effects ‘supervisor Dale Mayeda recalls: “We had Dr. Ken Libbrecht, ‘Doctor Snow’ from Cal Tech, here to talk about the formation of snow crystals. There's so much amazing stuff about how snowflakes grow, down to the molecular level. Part of our pitch was that nothing ever morphs into a shape or wipes on; everything grows, as it does in nature. Things frozen in storms may assume lyrical shapes that look like something a sculptor created. By doing all this research, we're making magic out of things that actually happen in nature."...One of the main challenges the artists faced was creating believable ice, which is more difficult than snow because it’s optically active. Its colors can shift according to what's around it; it can shatter light into rainbow highlights; it can appear almost perfectly transparent or completely opaque. Its surface may be glassy-smooth or etched with patterns. It can re?ect its surroundings, or distort them like a fun house mirror. Ice isn’t easy..
  97. ^ Solomon 2013, p. 110, Chris had some ideas about how he wanted Olaf and the other snowmen to look and move early on," says character rigging supervisor Carlos Cabrol. “We'd never done a snowman. It required a lot of back-and-forth with animation: we would prototype something, they would test it, and Chris would ask, ‘Can we see him come apart, or have his head fall off?’ All the capabilities the animators wanted are in there to make him move and behave in ways humans and animals don't—and can't.” With his blithe charm and break-apart body, Olaf quickly became a favorite o the crew. Story artist Jeff Ranjo comments, "He's almost like a baby: He's just ber created. He doesn’t know that much about the world, so you have to explain things to him you take for granted, just as you would to a little kid. “He's built in sections, so we play with him getting hit, like Mr. Potato Head,” Ranjo continues gleefully. "You can rip his arms off, you can cut his head off, you can make a hole in him. He doesn’t care. | love to torture Olaf, because he's a snowman. He doesn’t feel pain. | can abuse him and get paid for it.” “He feels quite a bit emotionally, but he doesn't feel pain,” counters fellow story artist Normand Lemay. "So you can play with that and it’s okay.” The artists concur that one of the high points of the 2m will be Olaf’s song “In Summer” where he happily imagines himself “Doing whatever snow does in summer.” Lead editor Jeff Draheim comments, “Once someone starts singing, you're breaking the bounds of reality. When Olaf sings about a snowman in summer, it’s all in his head. We can have a snowman ?oating in the water. We can havea snowman sitting on the beach. | love the freedom of working on a musical.”...110 “In Olaf's song, we change the look of the backgrounds to make them more Olaf-like,” says Womersley. “It all takes place within the imagination of a strange little snowman. We 2gured that a lot of the shapes would be Olaf-like, that he would reduce his world to a more Olaf friendly place.” Despite the challenges, John Lasseter sums up the consensus among the film- makers when he says, “We have a breakout character in Olaf. The animation of this guy is hilarious. One of the funniest songs I've ever heard is where Olaf, who's always so positive, sings about summer. It’s wonderfully naive. It’s the perfect blend of a great voice and writing that comes from the personality of the character.” In addition to his vague anatomy, Olaf posed another difficult problem: how to make a snowman stand out in a snowy environment. Layout supervisor Scott Beattie says, ‘We can make subtle differences of Olaf's texture, so he doesn't just blend in, And we rely on our friends in lighting to make him stand out.” "We're going to push the lighting button,” replies lighting supervisor Josh Staub with a roll of his eyes. “It’s demnitely going to be hard. We're going to have to make sure he separates from the background, using our traditional techniques of rim and bounce and things like that. But you don’t want him to feel like a cut-out. He has to look like he belongs there..
  98. ^ Keegan, Rebecca (November 1, 2013). "Husband-wife songwriting team's emotions flow in "Frozen"". Los Angeles Times. Archived from the original on November 20, 2013. Retrieved November 19, 2013. Composer Robert Lopez was surfing YouTube recently when he came across a video of a music box playing "Let It Go," a stirring, radio-friendly empowerment anthem that he and his wife, Kristen Anderson-Lopez, wrote for the upcoming Walt Disney Animation movie "Frozen."
  99. ^ Laskowski, Amy (February 28, 2014). "Frozen Producer Heads to the Oscars". BU Today. Archived from the original on May 6, 2014. Retrieved April 21, 2014. As with many Disney animated movies, music was critical, so Del Vecho looked to Broadway. He hired Avenue Q and Tony-winning Book of Mormon songwriter Bobby Lopez and his wife, Kristen Anderson-Lopez, for their fresh, quirky ideas, he says. (The trio had worked together on Winnie the Pooh.)
  100. ^ Rudulph, Heather Wood (April 27, 2015). "Get That Life: How I Co-Wrote the Music and Lyrics for "Frozen"". Cosmopolitan. Archived from the original on June 15, 2015. Retrieved June 13, 2015. Bobby was in L.A. working on Book of Mormon, and Disney called and said, "Come by and look at some pictures of a new animated film called Frozen." Bobby immediately called me and said, "Oh my god, Kristen, we have to do this. It's so up your alley." I was in New York with a 5-year-old and a 1-year-old, so the whole Disney team flew out to pitch me.
  101. ^ Ng, David (February 22, 2014). "Robert Lopez ranges from ribald 'Book of Mormon' to Disney's 'Frozen'". Los Angeles Times. Archived from the original on January 24, 2015. Retrieved March 3, 2015. They pitched us this story. Whenever Disney asks if you want to do a fairy tale musical, you say yes. I think part of the reason they wanted us was because of her [his wife, Kristen]. She has this great head for story. I think they wanted "Frozen" to benefit from her story talent and our musical instincts.
  102. ^ Kit, Zorianna (November 26, 2013). "Awards Spotlight: 'Frozen' Director Chris Buck on Crafting Well-Rounded Female Characters". Studio System News. Archived from the original on March 24, 2014. Retrieved March 23, 2014. We worked with Bob and Kristen every day, videoconferencing between L.A. and New York, working out the story with them. It was quite a collaboration. They would push us to define our characters better so they could write songs that were clear … You don't necessarily want to be on the nose with everything, but with a song, you [do]. You have two or three minutes to say something and you need to say it very clearly so that the audience understands what's going on.
  103. ^ a b Kit, Zorianna (November 27, 2013). "Awards Spotlight: Robert Lopez & Kristen Anderson-Lopez Make Beautiful Music Together for Disney's 'Frozen'". Studio System News. Archived from the original on January 29, 2014. Retrieved April 5, 2014. SSN: So those songs on the disc will be the actual demos? Lopez: Every song went through that process. We'd write the song, and then we'd record it together, and then we'd email the recording to Disney...SSN: Pop star and former Disney teen star Demi Lovato sings the song over the end credits. Was she chosen because she is already in the Disney fold? (Lovato is signed to the Disney Music Group's Hollywood Records) Anderson-Lopez: Because she is so damn talented. The Disney family thing was very convenient, but honestly, she would have been at the top of the list if she hadn't been in the Disney family. "Heart Attack" is one of my favorite songs of all time. Not everyone can sing "Let It Go." It's not easy. She has the kind of voice that can.
  104. ^ Burlingame, Jon (November 6, 2013). "'Frozen' Aims for Watermark notched by 'Mermaid,' 'Beauty & Beast'". Variety. Archived from the original on March 31, 2014. Retrieved March 31, 2014. All told, they wrote about 25 songs for the film, two-thirds of which were discarded along the way. The troll song ("Fixer-Upper," about dating problematic people) was the fourth try. "We wrote this whole song that ended with a list of terrible things that could happen to your feet, including plantar warts and athlete's foot," admits Anderson-Lopez. "John Lasseter heard it and he was like, 'What?! How did we get onto foot fungus?!' "
  105. ^ Hoel, Ole Jacob (September 14, 2013). "Trøndersk joik åpner Disney-film". Adressa.no (in Norwegian). Archived from the original on September 17, 2013. Retrieved September 15, 2013. Fant låten på cd Ikke bare norsk natur, men også landets kultur og mytologi interesserte filmskaperne og med seg tilbake til USA hadde de et anseelig mengde bakgrunnsmateriale til videre studier av norsk kultur. Blant annet kjøpte de en bunke norsk musikk. Blant cd-ene var Cantus-albumet «Norwegian Voices» - der de bet seg merke i førstelåten, som er en joik. For en måneds fikk låtens komponist Frode Fjellheim en overraskende telefon fra sitt amerikanske noteforlag Boosey & Hawkes. Levd et internasjonal liv – Opprinnelig var joiken skrevet for Cantus, som har spilt den inn i flere versjoner. Men den har begynt å leve sitt eget liv. Jeg bodde en periode i New York og fikk da kontrakt med noteforlaget Boosey & Hawkes for flere korverk. Men det var spesielt «Eatnemen Vuelile» som slo an. På Youtube finnes klipp av joiken utført av kor fra både USA og New Zealand, sier Frode Fjellheim. {{cite news}}: line feed character in |quote= at position 513 (help) If necessary, view a rough translation Archived March 8, 2021, at the Wayback Machine for reference.
  106. ^ Brew, Simon (April 4, 2014). "Jennifer Lee & Chris Buck interview: Frozen, Statham, Frozen 2". Den of Geek!. Dennis Publishing. Archived from the original on April 7, 2014. Retrieved April 6, 2014. The silence… John Lasseter really wanted that silence when Anna freezes. We took out even the ambient sound even that is normally just there to make it feel unusual. We crafted that with him, because that was a moment where we wanted everything to feel suspended.
  107. ^ Keegan, Rebecca (January 24, 2014). "'Frozen': Finding a diva in 41 languages". Los Angeles Times. Archived from the original on March 24, 2014. Retrieved March 23, 2014.
  108. ^ Appelo, Tim (February 25, 2014). "'Frozen' Composer Robert Lopez on the Perils of Translating 'Let It Go'". The Hollywood Reporter. Archived from the original on March 18, 2014. Retrieved May 29, 2014.
  109. ^ Doty, Meriah (March 31, 2014). "How These Singers Around the Globe Pushed 'Frozen' Over the Top". Yahoo! Movies. Yahoo!. Archived from the original on April 7, 2014. Retrieved April 3, 2014. The casting process was particularly complex because native speakers were required. "It's the only way to really ensure that the film feels 'local,'" Dempsey said...Two hundred singers tested for 41 slots. And not all vocalists were fit to act the part for which they were singing. "Sometimes we find a great vocal match with a singer and a great acting match with a different actress," said Dempsey. "There are close to 15 versions out there that have two different talent performing the role."
  110. ^ Kang, Cecilia (November 20, 2014). "Disney's global success with 'Frozen' took lots of translation, investment". The Washington Post. Archived from the original on November 21, 2014. Retrieved November 23, 2014. The company put a huge investment into making the animated film as accessible in Beijing as in Buenos Aires. The movie is translated into 41 languages, which included an international cast of more than 900 people. They worked on 1,300 recording sessions.
  111. ^ Laili 2021, p. 15-17, Liberal feminists emphasize women’s capacity for rational thought and their shared humanity with men...Liberal feminists endorse the concept of meritocracy...Liberal feminists advocate equality of opportunity for women in all areas of social, economic, legal, and political life..
  112. ^ Laili 2021, p. 6, In this film, Elsa as the female lead has a role as a successor to the king (his father). In this film Elsa wants to solve his own problem, namely how he got the power of ice and what he must do in the future with that power. Of course this contains a moral message that women can solve their own problems and can fight crime..
  113. ^ Laili 2021, p. 9, Elsa always tries to think rationally because she is a leader in her kingdom. Seen when Anna asked permission to Elsa to marry Prince Hans but Elsa did not agree. Elsa was surprised to hear that. At first Elsa was confused and on the other hand Anna kept trying to ask permission from Elsa so that Anna could marry Prince Hans. Elsa tries to calm down and think rationally while giving reasons why Anna can't marry Prince Hans. However, Anna continued to insist on marrying Prince Hans.
  114. ^ Laili 2021, p. 12, When Anna asked the Royal Handler for a horse, Hans had time to forbid Anna because according to Hans it could harm Anna. However, Anna still insists on finding Elsa alone. Anna assures Hans that if it is harmless, she will also bring Elsa back and make this act right. When Hans wanted to go with Anna but Anna refused and needed Hans to take care of Arendelle. Hans agreed..
  115. ^ a b Stevens, Dana (February 15, 2014). "I Can't 'Let It Go'". Slate. Archived from the original on March 30, 2023. Retrieved October 28, 2023. To get at what I mean, you need a little background about the setup to the climactic number. So Elsa, the elder of the two princess sisters, was born with the power to turn everything she touches to ice—but not with the ability to control this power, which has meant spending most of her life locked away from the rest of the world. On the night she is to be crowned Queen of Arendelle, Elsa has a fight with her impetuous younger sister, Anna (voiced by Kristen Bell), loses control of her emotions, and inadvertently sets off an eternal winter throughout the kingdom. Overcome with shame and unsure how to reverse the damage, Elsa flees to the mountains—and there undergoes the kind of transformation that only a pop diva can, letting loose with the empowerment anthem "Let It Go" as she dares to own, for the first time, her fabulous frozenness. Even the umpteenth time through (and even though, in plot terms, this is the moment when she is basically assuming the role of villain), it's impossible not to thrill to Elsa's surging sense of power as she throws off the gloves the late king always made her wear to hide her natural gifts and casts them into the raging storm. "It's time to see what I can do/ To test the limits and break through," she sings as she experiments with her long-suppressed talents, culminating in the telekinetic construction of an ice bridge leading to an immense ice palace where she plans, henceforth, to dwell in queenly isolation. At the song's emotional climax, as Elsa is about to see the sun rise for the first time from the balcony of her new crystal palace, she suddenly sees fit to express her freshly unleashed power by giving herself … a magical makeover. "Let it go/ Let it go/ That perfect girl is gone," she declares as she ditches her old look (a modest dark-green dress and purple cloak, hair in a neatly tucked-up braid) for one that's arguably even more "perfect." By the time she sashays out onto that balcony to greet the dawn, Elsa is clad in a slinky, slit-to-the-thigh dress with a transparent snowflake-patterned train and a pair of silver-white high heels, her braid shaken loose and switched over one shoulder in what's subtly, but unmistakably, a gesture of come-hither bad-girl seduction. {{cite news}}: line feed character in |quote= at position 849 (help)
  116. ^ a b Lemire, Christy (November 27, 2013). "Frozen". RogerEbert.com. Archived from the original on March 28, 2014. Retrieved December 26, 2013. "Frozen," the latest Disney musical extravaganza, preaches the importance of embracing your true nature
  117. ^ Benhamou 2014, p. 11, By contrast, Frozen rather straightforwardly adopts superhero and postfeminist tropes of female empowerment through depictions of traditional and sexualized femininity. As for the superheroine’s overflowing superpowers and emotions, the film undeniably includes sequences of female agency and freedom, and even anger, which constructs Elsa as creative, impressive, as well as able to efficiently defend herself. Yet, her superpowers are repeatedly contained, and her non-feminine aggressiveness is subsequently neutralized..
  118. ^ Rudloff 2016, p. 18, On the surface the film promotes a narrative of feminist ideals of equality, empowerment and female agency but reduce them to postfeminist ideals of looks, self-discipline and strongly gendered notions in how the characters look and act. The movie arrays masculinity and femininity along an axis of difference which determines not only the highly idealised and stereotypical appearances of the male and female characters but also their aspirations and concerns in life..
  119. ^ Benhamou 2014, p. 11, her overflowing powers and emotions are first contained and neutralized through patriarchal control, which is illustrated by her father’s mantra (conceal it, don’t feel it), and the gloves he gives her..
  120. ^ Benhamou 2014, p. 11, Indeed, the sense of limitless freedom and agency demonstrated in ‘Let It Go’, during which Elsa throws away her gloves and embraces her powers, is short-lived. Later on, she is attacked by thugs, and single-handedly defends herself with her newly mastered powers. However, she is stopped as soon as she becomes too threatening – the ‘monster’ everyone thinks she is.
  121. ^ Rudloff 2016, p. 18, On the surface the film promotes a narrative of feminist ideals of equality, empowerment and female agency but reduce them to postfeminist ideals of looks, self-discipline and strongly gendered notions in how the characters look and act. The movie arrays masculinity and femininity along an axis of difference which determines not only the highly idealised and stereotypical appearances of the male and female characters but also their aspirations and concerns in life. Although agentic, determined and heroic, Anna is also presented as naïve, impressionable and emotional—and concerned with how she appears as she expresses her desire to find Mr. Right. In Elsa, the feminist ideals of empowerment, self-realisation and liberation are confused with her outward appearance and sexualisation, which equates her inner sense of self with a femininity that is located in her body..
  122. ^ Streiff & Dundes 2017, p. 1, A closer look at Frozen, however, reveals questions about whether its princesses do indeed provide an improved model for young girls coming of age. This essay departs in design from standard research studies and instead employs critical content analysis..
  123. ^ Streiff & Dundes 2017, p. 1, Regardless of the need for novel female characters, Elsa is just a variation on the archetypal power-hungry female villain whose lust for power replaces lust for any person, and who threatens the patriarchal status quo..
  124. ^ Streiff & Dundes 2017, p. 4, We surmise that this plot element reflects a persistent societal double standard regarding women’s sexuality. Males are applauded for sexual prowess; in fact, kings are sometimes addressed as sire, a word that in its verb form means to procreate. It is not an accident that sire is a term of respect for high status males, but not females. Similarly, suitors by definition are males, since males are permitted and even encouraged to be romantically assertive. Suitors traditionally have asked a father for his daughter’s “hand” in marriage. This is a tradition practiced only by males just as only women wear engagement rings on their hands, signaling that their “hand” in marriage (that is, virginity) has already been promised to a man.
  125. ^ Holmes 2015, p. 7, There is now a long and rich heritage of feminist writing on eating disorders, and in seeking to contest the medical and psychiatric construction of anorexia in particular, this has explored such problems in relation to the socially constructed nature of female identity. The role of the media in perpetuating ‘idealised image[s] of thinness as beauty’ (Malson 1998, 138) was recognised here. But critical feminist work has often sought to move beyond this, situating anorexia as a ‘graphic cultural statement’ about ‘the “conditions of being a woman” in contemporary western cultures… and …. as expressive of a diverse range of sometimes contradictory societal values’ which work to map out the normative parameters of the feminine (Ibid, 137). The emphasis on contradiction is crucial, in so far as much feminist research, particularly that influenced by post-structuralism, has foregrounded the anorexic female body as paradoxical and polysemic. The attempt to render the self tiny, disappearing and fragile might be seen as a dangerous ‘hyper-conformity’ to a cultural ideal of thin femininity, also adhering to traditional cultural scripts of gender in which women should take up less (masculine) space (Malson 1998, 136, Orbach 1986, Wolf 1991, Bordo 1993). Yet starvation can also be interpreted as a form of corporeal resistance, a rejection of traditional heterosexual femininity and feminine subjectivity in the pursuit of a sexless/ childlike or defeminised form (Bordo 1993, Malson 2009, Saukko 2008)..
  126. ^ Geal 2016, p. 1-2.
  127. ^ Geal 2016, p. 5, So, even if the film ostensibly breaks the traditional narrative binary of active male/passive female, it reinforces cinema’s traditional visual binary. Frozen’s male homosexual codings are variously negative, revealing sexuality that is either non-aesthetic, disavowed, alterable or masochistic..
  128. ^ Geal 2016, p. 6.
  129. ^ Nikolas, Akash (April 23, 2014). "It's Not Just Frozen: Most Disney Movies Are Pro-Gay". The Atlantic. Archived from the original on May 26, 2017. Retrieved June 10, 2021. Then there's the fact that Disney protagonists often reject traditional marriage partners. Ariel wants to marry a human against her father's wishes, Belle rejects Gaston's proposal in front of the whole town, Jasmine refuses to marry the sultan's suitors, Pocahontas refuses to marry a tribal warrior, and Mulan rejects conventional matchmaking. In this way, even though Disney films usually offer a traditional happy ending with a heterosexual marriage, the journey always involves rejecting parental and societal expectations, and exercising a "freedom to marry whomever you love" spirit that is endemic to gay rights...More subtly, Disney protagonists often mature in ways that evoke the queer experience. In The Queer Child Kathryn Bond Stockton argues that queerness is not just about homosexuality, but also about growing in abnormal ways that makes the child an outcast.
  130. ^ Geal 2016, p. 2, These various gay codings serve to characterize homosexuality within different negative conventions; a greedy, comedic outsider, an ambiguous potential heterosexual convert, a sexualized ‘lipstick’ lesbian, a masochistic vicariously-sexual ‘gay best friend’. The gender differentiation of these stereotypes reinforce traditional binaries based upon woman’s “to-belooked-at-ness” (Mulvey 1993: 116, original emphasis) and the threat of “male homosexuality [which] is constantly present as an undercurrent, as a potentially troubling aspect of many films and genres, but one that is dealt with obliquely, symptomatically, and that has to be repressed” (Neale 1993: 19). Moreover, Frozen’s masochistic celebration of the pleasure of unpleasure thematises realist cinema’s central ontological ideological project, inscribing spectators into “the pleasure of [the] process—movement and fixity and movement again, from fragment […] to totality (the jubilation of the final image)” (Heath 1985: 514) by narrativising the principle that the “drama of vision becomes a constant reflexive fascination in films” (1985: 514, original emphasis)..
  131. ^ Geal 2016, p. 2, Homophobic criticisms of Frozen exist within a broader understanding of how it subverts the fairy-tale’s classic conservative binary between active male and passive female. This, for members of the religious right such as Steven Greydanus, is symptomatic of “Obama’s postevolutionary America” (2014). One of the film’s two princesses, Anna (Kristen Bell), may flirt with the idea of being rescued from her loneliness by a Handsome Prince, but such longings are shown to be a myth, and to be worthy of ridicule. When she tells gruff Kristoff (Jonathan Groff) that she got engaged to the Prince that she just met, his unbelieving response breaks the established trope of fairy-tales in which 'true love” occurs instantaneously and inevitably. When the Handsome Prince Hans (Santino Fontana) later reveals his sinister intentions, the prospective lovers’ earlier duet, coded with all the fire-works exploding/vocal harmonizing conventions of the Disney fairy-tale genre, is shown to be an illusion..
  132. ^ a b Geal 2016, p. 5-6, While Elsa exists as a self-empowered individual, which is a queen, no longer a princess. Elsa does not have and needs a male bearer or romantic interest. She is powerful as she is and does not need any man as her “happily-ever-after” to make her life meaningful. At the end of Frozen, no prince involvement saves Anna and Elsa [10]. The definition of true love is entirely transformed or seen from another point of view, which is true love from the familial bond in a form of sisterly affection and selfless love, which has replaced the old notion of “only true love’s kiss can save the day”. As the powerful climax of the rescue, Elsa is saved by selfless Anna, while Anna is saved by Elsa’s sisterly love; she takes control of her life..
  133. ^ Bunch 2017, p. 1, Frozen (Chris Buck and Jennifer Lee, 2013) has been widely acknowledged for devising a departure from, or variation on, Disney’s animated musical tropes – specifically those associated with the Disney Princess franchise, which are faulted (fairly or not) for portraying inactive princesses who find their heart’s desire through marriage to a prince. In the common view, Frozen commits an inversion of gendered tropes by emphasising a relationship between sisters rather than a heterosexual couple, producing, for many, a more feminist Disney princess musical.2.
  134. ^ Bunch 2017, p. 7, imprisoned is a standard of fairy tales, one strengthened in the contemporary imagination by Disney’s habitual choice of stories that include princesses not allowed to leave the house or its environs, among them, Cinderella (1950), Sleeping Beauty (1959), Beauty and the Beast (1991), The Little Mermaid and Tangled (Nathan Greno and Byron Howard, 2010), based on the story of Rapunzel. Doors and windows symbolise the separation between the sisters, their condition of being shut in, and Elsa’s inability to love because of her fear that she will hurt someone, especially Anna. Like their predecessors, Elsa and Anna are trapped, but the themes of restraint and freedom are more complicated because of the two sisters’ character arcs – Anna is open and ready to meet the world while Elsa seeks security in confinement and isolation..
  135. ^ Bunch 2017, p. 6-7, The next two songs show Anna and Elsa to be differently embodied in animation and music, with Anna given sung material from the tradition of ‘I Want’ songs and love duets for which Disney princesses are known and having the more plasmatic physical constitution, while Elsa is more bodily contained and given a more constrained range of vocal expression. ‘Do You Want to Build a Snowman?’ establishes the relationship between Anna and Elsa during the period of their separation, collapsing time to show them growing up and depicting the death of their parents. Over the course of several verses, each at a different stage of growth for the girls from childhood to adolescence, Anna tries to convince Elsa to come out and play. During this sequence, Anna is bursting with physical excess and plasmatic animation, running and sliding across the floor to knock on Elsa’s door. Elsa repeatedly tells her to go away. Although ‘For the First Time in Forever’ might seem a more obvious choice as Frozen’s major ‘I Want’ song, ‘Do You Want to Build a Snowman’ establishes for the audience Anna’s deepest desire, to be close to her sister..
  136. ^ Bunch 2017, p. 7, ‘For the First Time in Forever’ continues this delineation of the two characters as high-spirited princess and cautious queen. On her eighteenth birth day, Elsa is about to have her coronation, and for the first time since Anna’s accident, the palace doors will be opened. ‘For the First Time in Forever’ and its reprise introduce a type of song rare, if not unheard of, in previous Disney films – the fully formed musical scene with characters in different psychological states singing in counterpoint with each other. Anna sings the bulk of the song as a Broadway-style number with a pulsating accompaniment resembling that of ‘Don’t Rain on My Parade’, from Funny Girl (Jule Styne and Bob Merrill, 1964), in anticipation of gaining her freedom and finding true love. Anna’s physical lightness in this performance signals her kinship to the traditional Disney princess. She displays a good deal of plasmatic quality, sliding down a spiral banister, lingering in mid-air to pose with the paintings on the walls, and indulging again in her signature move, sliding across the floor of the palace, garments fluttering. We also see her doing traditional Disney princess things like talking to animals – she shares her secret romantic longing with the birds, in this case some baby ducks: ‘Maybe I’ll meet the one!’ By contrast, Elsa is the picture of agony – staid, earthbound and afraid to move, crossing her gloved hands in front of her tightly fitting frock with its high collar and singing her mantra, ‘conceal, don’t feel’, as she tries not to freeze the orb and sceptre she must hold without gloves at the coronation. She is in both musical and animated counterpoint to Anna. The song is packed with ‘I Want’ tropes, linking Anna’s desire to escape confinement with her desire for romantic love. As noted, in many earlier Disney films, the heroines sing about their longing for adventure before that desire gets diverted into heteronormative romance. Frozen collapses this process into one song. At first, Anna sings about the excitement of the open doors and windows and of generally being around people, but soon she is fantasising about meeting her true love. Because of the way ‘For the First Time in Forever’ focuses on these two themes, which have been the motivations for such songs in earlier Disney films, it is not surprising that many would, at first viewing, take this for the main ‘I Want’ song. Indeed, the song is composed to make us think of it as such, setting us up to believe we are watching another formula Disney film so that the filmmakers can pull the rug from under us later, when Anna’s desire for romantic love turns out to be less the key to Frozen than her desire to be reunited with Elsa. ‘For the First Time in Forever’ thus combines and compresses the tropes of earlier Disney films while also introducing an ironic inversion in which Elsa seeks security and isolation rather than exposure and contact..
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  139. ^ By (October 7, 2013). "'Frozen' characters set to visit Epcot's Norway, be seen in Magic Kingdom show". Orlando Sentinel. Retrieved November 12, 2023. Characters from "Frozen," Disney's next animated feature, will make appearances at Epcot's Norway pavilion and in a Magic Kingdom presentation later this year, Disney World announced.
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  141. ^ Disney Consumer Products (November 6, 2013). "Press release: Disney Celebrates Family Bonds and Epic Storytelling in New Frozen Product Collection Available at Retail Now". Disney Consumer Products. Archived from the original on February 21, 2014. Retrieved January 29, 2014. Glendale, Calif. (Nov.6, 2013) — Disney Consumer Products (DCP) welcomes the arrival of the highly-anticipated Walt Disney Animation Studios film, Frozen, with a diverse new product collection of role- play items, plush stuffed animals, dolls, apparel, home décor and more that capture the family, adventure and fun from the movie. With innovative products like Anna and Elsa dolls that light up and play a melody when they join hands, to Olaf plush that talks when he comes apart, just like his character in the movie, the collection leverages the storytelling and themes in the film to bring the big-screen comedy adventure to life at home. There is also a line of Frozen books from Disney Publishing Worldwide that will allow families to immerse themselves in the story after they leave the theater.
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  152. ^ NoMonday. "Uwielbiane klasyki wracają na ekrany kin Helios z okazji 100-lecia Disneya!". www.agora.pl (in Polish). Archived from the original on October 27, 2023. Retrieved October 25, 2023. On the last Saturday of the month (October 28) , "Our Magical Encanto" will appear on the screens - one of Disney's latest hits, taking viewers to the mountains of Colombia. The heartwarming story of the Madrigal family, as well as the delightful songs from the film, captivated moviegoers around the world. The last anniversary show will be the beloved "Frozen" . It is also the 10th anniversary of the premiere of the film, which has become a cult not only for the youngest viewers.
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Works cited

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