Domasian, Audrey Mae B240 1st paper Narrative Theory on Disneys Frozen Theories su h as narrative ana!ysis provide a !

!ens "or us to revie# various media in terms o" the ontent or p!ot and ho# is it presented, #hether presented uni$ue!y or presented as somethin% #e&ve seen time and time a%ain, 'ut #ith a di""erent pa (a%in%) Narrative theory 'rea(s do#n the stru ture o" the stories present in the medium, "rom p!ot *'e%innin% to end+, the story or in"eren es reated, hara ters and ar hetypes, detai!s su h as '!o (in% o" the hara ters and "ramin% in the "i!m, that a!! u!minate to 'rin% the "i!m to !i"e despite its p!ot that may or may not 'e as ori%ina! as it seems) ," "o!!o#in% -!adimir .ropps narrative theory in #hi h a!! narratives are onstru ted out o" /1 a tions or "un tions *0ts) )ute1as)edu, 2014+, a!! Disney movie p!ots "o!!o# a ertain pattern re%ard!ess o" hara ter or ontent) .ropps "irst "un tion, 2mem'ers o" "ami!y a'sent itse!" "rom home3 is present in every Disney movie, "rom 4no# 5hites !a ( o" parenta! "i%ure that ou!d have to!d her not to eat App!es "rom stran%e o!d !adies, to 6ion 7in%s !a ( o" "ather "i%ure, to Frozen #here the parents o" prota%onists, 8!sa and Anna, have died) A!! Disney "i!ms have !a (ed parenta! "i%ures or a parents !a ( o" presen e tri%%ers a hara ters rea tion #hi h u!timate!y !eads to the main p!ot) .ropps theories o" "un tions mi1ed #ith ar hetypes that "orm the 'asis o" hara ters %ives us a narrative !oo( at a!! o" Disneys ma9or "i!ms) .rota%onists are o"ten see(in% true !ove, su h as 6itt!e Mermaids Arie!, :indere!!a, ;apunze!, and Frozen) A!! prota%onists must %ive up a ertain aspe t o" themse!ves prior to a hievin% true !ove, Arie! sa ri"i ed her voi e, :indere!!as midni%ht ur"e#, ;apunze!s uttin% o" her hair, and Frozens Anna #ho near!y sa ri"i ed herse!" "or her sister) Despite many traditiona! "ormu!as, spe i"i a!!y the portraya! o" 2true !ove3 a!#ays 'ein% 'et#een a man and a #oman *#ith the man savin% the damse!<in<distress+, Disney itse!" e1p!ored ne# narrative in Frozen 'y the main hara ters 8!sa and Annas de"inition o" 2true !ove3) Not !imited 'y 2man and #oman3 notion, Frozen presents a 2di""erent3 Disney throu%h 4 main a ts o" !ove) 8!sas sa ri"i e to distan e herse!" "rom her sister, Anna, in "ear o" hurtin% Anna, an 'e ounted as !ove) Annas sa ri"i e to save her sister instead o" hoosin% true !ove is the most #ide!y (no#n a t o" !ove that the "i!m promotes) =!a" the 4no#mans sa ri"i e to 'rin% Anna !oser to the #armth o" the "ire even i" it means me!tin%, and sayin% 24ome peop!e are #orth me!tin% "or3 is another a t o" !ove) 6ast!y, is >ans dedi ation to save Anna as she #as "reezin% to death 'y 'rin%in% her over to her 'etrothed Du(e to 'e ured, and 'y doin% so !ettin% %o o" Anna #ith #hom he #as so in !ove #ith) ,nterp!ayed #ith ausa!ity and intete1tua!ity, Disney mi1es these a ts o" !ove into Frozen thus turnin% it into a hit movie that, "or on e, #asnt a'out the hero savin% the damse! in distress, 'ut a'out the !ove that needs sa ri"i e in order to stay true) :hara ters e1p!ain (ey points o" their persona!ity and re!ationship #ith ea h other throu%h son%s *"ormin% a semi<musi a!+ as their o#n "orm o" narration, !i(e Do ?ou 5ant To Bui!d A 4no#man or 6ove ,s An =pen Door, or 6et ,t @o) ,n"ormation "rom the son%s are o""ered to the audien e 'ased on the hara ters !yri s and the mat hin% a tions on s reen) Despite 'ein% an animation, the '!end o" hara ters movements and tune o" the son% 'e omes a ue "or the audien e to re o%nize a (ey moment) Both the narrative stru ture and the musi a! portion reates a re!ationship 'et#een the de oder and en oder, in #hi h the de oder "ee!s they are tru!y part o" the Disney "i!m and 'e%in to root "or the hara ters as i" it #ere their o#n sisters)

;o!and Barthes states that narratives "orm 'y a hermeneuti ode #hi h ena'!es the audien e to understand a story, the ode 'ein% eni%ma, de!ays o" so!ution to eni%ma, and reso!ution to eni%ma *:!a)purdue)edu, 2014+) ,n Frozen, the eni%ma is presented in 2 "orms, the 1st 'ein% 8!sa a identa!!y ursin% the (in%dom into eterna! #inter, and the 2nd 'ein% Anna #onderin% #hy 8!se is so distant and o!d) The de!ay to the so!ution is the main $uestion, ho# do you tha# a "rozen heartA Fina!!y, in reso!ution to eni%ma, Anna is to!d that 2on!y an a t o" true !ove an tha# a "rozen heart3, there'y her a t o" 2true !ove3 *sa ri"i in% herse!" to save her sister+ #arms her sisters heart and in turn #arms the (in%dom) 5hi!e tha#in% a "rozen heart seems the main point o" the "i!m, it an 'e seen as a metaphor "or ho# to mend dama%ed re!ationships thus 'ein% the eni%ma to the "i!m) The "i!ms pea( rea hes #hen the main hara ters are a!! in a sno#y sear h "or ea h other, #hi h presents the ran%e o" (no#!ed%e to the audien e) :ompared to the restri ted narration, #here 8!sa ant see #here she is %oin% and 'e!ieves her sister to 'e dead, the unrestri ted narration #hi h is sho#n throu%h mu!tip!e points o" vie# sho#s us the sisters are 9ust !ose to ea h other yet una#are due to the !o# visi'i!ity o" the sno#storm) The audien e #aits at the ed%e o" their seats heerin% "or the t#o sisters to meet sho#s ho# the restri ted versus unrestri ted narration p!ay out at this !ima ti moment) Fina!!y the sno#storm stops and our main hara ters %ain visi'i!ity, ho#ever #e see Anna a!most "rozen to death) The audien e (no#s that an a t o" true !ove is needed to save Annas !i"e, so #e see >ans desperate!y tryin% to rea h her "or a (iss) =n the other hand, Anna and the audien e a!so see her sister #ho is a'out to 'e (i!!ed un(no#in%!y) 5hi h true !ove does Anna per"ormA As hara ters p!ay out their ro!e, the audien e rea!izes their identi"i ation #ith the hara ters, and ma(es thus Disney su ess"u!!y !ures them into the 2Disney ma%i 3) The narrative o" Frozen drasti a!!y han%es the "airy ta!e 2ever a"ter3 story!ine that Disney itse!" esta'!ished, yet a!! the #hi!e "o!!o#in% a 2"ormu!a3 "or su ess) Despite 2!ove3 and ar hetypes sti!! present in the narrative, Froze de"ies 2traditiona!3 Disney in #hi h a #oman ends up #ith a man, 'ut rather en"or es !ove o" "ami!y as true !ove) 5hi!e Disney has 'ui!t an empire on their animated "i!ms, its important to note that most o" these narratives !itera!!y ome "rom !iterary #or(s) A narrative "rom a narrative, #here Frozen is ori%ina!!y !i"ted "rom >ans :hristian Andersons 4no# Bueen, sho#s us ho# a story an 'e trans!ated "rom one medium to another) 5hi!e themes are (ept inta t and some ne# t#ists are added, the "a t remains that Frozen ame "rom 4no# Bueen yet #as reated #ith ne# e!ements that u!timate!y a 2ne#3 narrative in its o#n ri%ht) ,s anythin% tru!y ori%ina! or is everythin% a!#ays a reinventionA Disney sho#s us ho# a !assi story an sti!! 'e e1p!ored 'y presentin% a di""erent !i%ht to a #e!!<(no#n ta!e)

4our esC 0ts) )ute1as)edu) *2014+) Propp) Don!ineE ;etrieved "romC httpCFFuts) )ute1as)eduFGtimmooreFpropp)htm! DA essedC H Ian 2014E) :!a)purdue)edu) *2014+) Introduction to roland barthes, module on the five codes) Don!ineE ;etrieved "romC httpCFF###) !a)purdue)eduFen%!ishFtheoryFnarrato!o%yFmodu!esF'arthes odes)htm! DA essedC H Ian 2014E)