Loquaciousmuse

"She’s outspoken, yes, but she’s also rude; she’s condescending towards Kristoff and belligerent towards her sister; and she has no ambition beyond finding her one true love…" Yes, Anna is all of those things. That’s why the comparison to Bella in Twilight isn’t a fair one- clumsiness is not her only flaw. In fact, in many regards she’s much more flawed than other Disney heroines. As a result, there is a lot of room for Anna to grow over the course of the narrative, to learn to be selfless, and to find out what really constitutes “true love.” Again, the article misses a fundamental issue that most feminists take with earlier narratives, for instanceTwilight. The problem with Twilight isn’t that Bella is immature, self-indulgent and prone to bad decision making, it’s that within the course of the narrative, not only is this behavior romanticized, it is never challenged. Bella’s immaturity is continually reinforced by the tone and action of the narrative.

But again, she’s conveniently glossing over the tone and presentation of Frozen (and also Elsa, but don’t worry kids, she’s got a solution for her, too) wherein much of the narrative is spent challenging Anna’s assumptions about romantic love and the importance of it. Also, unlike Belle, who sees right through Gaston from the beginning of the film, naive Anna trusts Hans implicitly because she’s so desperate for male attention. While this doesn’t make her a bad person, it certainly makes her an immature one, and her priorities and assumptions about the nature of love are challenged throughout the narrative. But the fact that Anna does have a happily-ever-after romance subplot is not mutually exclusive to the idea that there is something new and interesting about Frozen. Frozen is not remarkable because it doesn’t end with a romantically happily ever after (it does, one that feels almost tacked-on), but the way the narrative takes a critical eye to the characters and their attitudes on romance. Also, Elsa exists. If we must flow down this log flume of examining Frozen within the Disney canon, the article fails to note that every single Disney movie- every single one- without a romantic plot involving the protagonist has had male protagonists, with one exception- Lilo and Stitch- which stars a fucking six-year-old. Oh, right, and Home on the Range. Which stars Roseanne. I’d honestly love to see a feminist analysis of Home on the Range come to think about it. I mean, from anyone brave enough to suffer through that thing (I did it once. Never again.) But all of this is a blustery glossing over of the main point – that “it doesn’t end with a wedding” doesn’t need refutation, because it’s a stupid reason to declare a film feminist. I didn’t even need a graph to tell you that.

She was, like, my woman in dreams,” Martirosyan said of the Oscar nominee. ”I was always watching her movies bacon Moscow, so it was something crazy to me.