NM3224: Cultural Industries
Zann Chan Jingwen
W1 email@example.com 92264491
Here I discuss the global hit sensation – Walt Disney Pictures’ Frozen – along themes of critical political economy and globalisation. My analysis follows that Frozen’s explosive success can be largely attributed to Disney’s effective globalisation of the film, which can be considered part of Disney’s move to maintain its cultural hegemony – sparked and fueled by the United States’ neo-liberalist stance.
Frozen is a 2013 Walt Disney animated film that follows princesses/sisters Anna and Elsa, in their coming-of-age story. Anna embarks on a mysterious and dangerous journey to find Elsa after she flees having accidentally trapped the kingdom in eternal winter with her magical icy powers. Alongside an iceman, a reindeer and a snowman, Anna ultimately saves Elsa from herself and sisterhood reigns – where this unexpected plot twist spins Disney on its head for its typical prince-saves-princess…show more content… As a U.S.-produced animation based loosely on the Danish fairy tale “The Snow Queen”, featuring princesses of arguably-Scandinavian ethnicity and an international voice cast, this diverse culmination of cultural elements makes Frozen particularly suitable to be considered under the ambivalent lens of globalisation. Globalisation refers to the process by which the world is growing increasingly interconnected due to rising interchange and sharing of world views, products, ideas and even culture (Hesmondhalgh, 2013). Rapid globalisation of U.S. transnational companies can fundamentally be said to have been spurred by the push for free information and entertainment flow, deregulation of cultural exports, and heavy investment in communication technology – all made possible by the U.S.’ neo-liberalist stance that actively promote their cultural industries overseas (Hesmondhalgh,