I clearly remember going to watch ‘Frozen’ in the cinema in 2013 and absolutely loving it. It had everything – a fantastic soundtrack, a talking snowman, and, most notably, two strong-willed, independent female characters who made their own decisions. The fact that the ‘act of true love’ was actually between sisters, rather than a heterosexual couple, felt, and was, groundbreaking at the time. Although Disney princesses like Mulan (princess status still largely debated) displayed strength, independence and courage, there is no doubt that the phenomenon that was Frozen paved the way for characters like Moana, and solidified a new type of princess; one who was bold and self-sufficient, and showed little interest in being saved or even involved in a prince. Whilst this is certainly an important milestone in terms of lifting female characters out of the ‘damsel in distress’ box that Disney once confined them to, it can really only be seen as a baby step. Both Elsa and Anna are still unrealistically slim, Euro-typically beautiful, and the film still pushes women’s role as wives and mothers as their main purpose in society. In fact, Anna is so keen to fulfil this role that she accepts a marriage proposal from a complete stranger. Of course, this doesn’t work out, but the fact that she is romantically involved with Kristoff so quickly suggests that her happy ending was somewhat dependent on a heterosexual relationship. Elsa, of course, is fiercely independent – but is she really? She is exiled from civilisation because the people of Arendale revere her powers, and is destined to live life in solitude because she embodies society’s fear of powerful women. So yes, she isn’t romantically linked with a man, but it would be naïve to suggest this is entirely her own feminist decision, rather than a position she was forced into by patriarchal standards. The recent announcement of a Snow White remake also paints the princess as a fierce warrior; title actress Rachel Zegler controversially said Snow White is “not going to be saved by the prince. And she’s not going to be dreaming about true love. She’s dreaming about becoming the leader she knows she can be.” Although the principle of presenting female characters as independent is admirable, it still puts women into one of two boxes – damsels in distress, or powerful action characters with no interest in romantic relationships. Can’t we be both? If we desire romance, does that make us less feminist? Disney princes can be funny, handsome, courageous and strong, all whilst still getting the girl, whereas princesses do not enjoy this same freedom. Is this really the message we want to send to young girls? Disney has been largely applauded for its progression, but its worth questioning whether, in the 21 st century, polarising women in this way is feminist progression at all.
