Frozen: Part V

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RayCRP
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Re: Frozen: Part V

Post by RayCRP »

taei wrote:
RayCRP wrote:let's spoil the ending for those who haven't seen it yet.
Um.. The movie's been out for 4 months..
The only people i'd feel bad for are the ones in Japan, since it officially comes out in 2 weeks.
Fair point, but were this not a critically-acclaimed Disney animated movie, I know the vast majority of my friends might have waited to see it for the first time after the home release... or a TV broadcast... or on-demand with friends or family on a whim. Actually, last time I saw Frozen at the theater about two weeks ago, it seemed like the majority of the audience was seeing it for the first time, based on their audible reactions.

I know we in this forum thread are Disney fans, as are many of my friends, but I don't know if the same can be said about Nightline's demographic.
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DisneyEra
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Re: Frozen: Part V

Post by DisneyEra »

Pharrell's "Happy" is now #1 on Billboard's Hot 100. They're saying if he wins the Oscar it will be the first time a song won Best Song while tops on the Billboard charts. Also, with Mandela's family coming the the Oscars to see U2 preform "Ordinary Love" it looks like Frozen will have only one shot at winning an Oscar this sunday. But if the Academy decides to give Miyazaki a retirement oscar, Frozen could be shut out this sunday. I hope i'm wrong, but it just doesn't feel good right now :(
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frankf3
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Re: Frozen: Part V

Post by frankf3 »

I can't see Frozen losing Best Animated Feature. It has won every major precursor possible for Best Animated Feature, so I don't see why it would't win the Oscar. Plus, Miyazaki has confirmed he isn't retiring, just another fake out.
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Re: Frozen: Part V

Post by taei »

I just got back from The Wind Rises.

Honestly.... it was OK...
It dragged and I felt that it was long.. All of that is due to it being an animated movie. This movie is basically your average oscar movie but animated. The characters are written and designed that way, the landscapes are too. The movie was good, but it felt like it was the wrong the medium.

As for it being the Oscar winner.. it might, it could.. But I really think that Frozen will win.


I'm like 90% sure that Happy won't win. It's only been in the top 10 for a week (right?).
The competition is between Let it Go and Ordinary Love.
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Warm Regards
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Re: Frozen: Part V

Post by Warm Regards »

Dunno if this is official but look how pretty this photo is:

Image
taei
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Re: Frozen: Part V

Post by taei »

Off topic, but kind of funny..
I can't wait to read this in the future:
Walt Disney, Ruining the phrase "Let it Go" since 2013.

Also... Hollywood needs to "Let it Go"... stop rebooting and remaking stuff.. leave the matrix and the gremlins alone!
"In every age, Family is king,
and the bravest journeys, are never taken alone."
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thelittleursula
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Re: Frozen: Part V

Post by thelittleursula »

Warm Regards wrote:Dunno if this is official but look how pretty this photo is:

Image
Anna looks great, it actually looks like a real life Disney version of her and captures that sweet and innocent look.

Hans however, looks like he came from the 70's. :lol:
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MickeyMouseboy
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Re: Frozen: Part V

Post by MickeyMouseboy »

Hello Guys,

Vudu is selling the digital version of Frozen in 3D/2D with bonus features for $35.99!!

http://www.vudu.com/movies/#!content/52 ... s-features
taei
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Re: Frozen: Part V

Post by taei »

MickeyMouseboy wrote:Hello Guys,

Vudu is selling the digital version of Frozen in 3D/2D with bonus features for $35.99!!

http://www.vudu.com/movies/#!content/52 ... s-features
In 6 months, I'll probably be able to get a physical 3D and 2D blu-ray discs, a DVD version, and an HD iTunes Digital Copy... for probably $27.99...
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Mach Full Force
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Re: Frozen: Part V

Post by Mach Full Force »

taei wrote:I'm like 90% sure that Happy won't win. It's only been in the top 10 for a week (right?).
I don't care, I'm still rooting for it. (And not just because I have a thing for underdogs.)

Heck, as long as Frozen wins but Let It Go doesn't, I'll be satisfied.
Last edited by Mach Full Force on Sat Mar 01, 2014 6:57 am, edited 2 times in total.
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Re: Frozen: Part V

Post by DisneyFan09 »

Warm Regards wrote:Dunno if this is official but look how pretty this photo is:

Image
Hans looks gorgeous.
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Re: Frozen: Part V

Post by Miss Manday »

That's Traci Hines.
admin of Mouse Ears // find me on Moviepilot!
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Re: Frozen: Part V

Post by teej »

Is there a page that lists the various Blu-Ray releases of the movie? I'm seeing on eBay (not the most reliable place, I know) a steelbook as well as a Target edition with a bonus disc.
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Re: Frozen: Part V

Post by RayCRP »

teej wrote:Is there a page that lists the various Blu-Ray releases of the movie? I'm seeing on eBay (not the most reliable place, I know) a steelbook as well as a Target edition with a bonus disc.
Blu-ray.com's Frozen thread should have everything. The Steelbook you're seeing is an import, as no one will be releasing a Steelbook in North America (legal), and the Target edition is the same as elsewhere BUT is bundled with an extra disc of bonuses. Best Buy also has an exclusive, but none of us are particularly impressed with it.

Then of course there's the all-but-confirmed 3D Blu-ray that Disney seems to be holding back until this fall.
Please voice your desire for a domestic 3D Blu-ray release of Frozen!
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unprincess
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Re: Frozen: Part V

Post by unprincess »

DisneyFan09 wrote:
Warm Regards wrote:Dunno if this is official but look how pretty this photo is:

Image
Hans looks gorgeous.
except for that giant hairy caterpillar crawling on his face. :lol:

I guess animated sideburns dont translate well to live action.
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Dr Frankenollie
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Re: Frozen: Part V

Post by Dr Frankenollie »

I wasn't planning to see Frozen. The post-Dreamworks style marketing campaign was pretty repugnant, to be perfectly frank, much like Tangled's. I had enjoyed the latter to some extent, even though I considered it a relatively weak offering, especially compared to the standards of the renaissance. What I really want is some satisfaction for my incessantly cloying nostalgia: a desire to see a film both old and new, something that could have come out of the Walt Era, something as innocent, as ancient and timeless, as amusing, as joyfully well-animated as my childhood favourites. Hand-drawn animation is part and parcel of this vision, naturally. The refusal to grow up and move on. But as much as I would like to see something akin to those golden periods prior to my conception, I simultaneously recognised the impossibility to see it again. The only constant in our existence is its inconstancy. Mutability is the companion we are bound to, destroying everything we know and love, destroying even ourselves. This is the natural order. Disney is dead, untouchable, lost. But despite the irrevocable tragedy of growing up, we can never truly appreciate the gift of childhood until it has been taken away. We appreciate innocence most of all when devoid of it. Oddly, I love Disney more now that I'm 17 rather than when I was 7. That retrospection drapes the animated classics with a false sense of purity, of perfect flawlessness, of some destroyed golden age spoiled by a far too cynical and technocratic contemporary society, regardless of the empirical evidence that society is better than ever before and, most likely, the best days are ahead of us. What may stop us from accessing this opportunity is faith in pessimism; albeit, a pessimism shaped by an undeniably more pessimistic lexicon and western artistic culture. Something more knowing, more self-aware.

I watch Frozen expecting to dislike it, while subconsciously hoping, dreaming, to love it. I am cynical so as to lower my expectations to ensure delight. And, yes, I was delighted. But not merely due to lowered expectations; it was indeed a glorious musical. Excellently-animated, better than any other computer-animated DAC. It doesn't have the flair of Mary Blair, the lyrical genius of Howard Ashman, or the same sort of timelessness, and its dialogue is marked by modern colloquialisms delineating it as a work of today. Yet it is alive, fresh and new. Looking to the future. Crying out for liberation. And, to some extent, completing a narrative extending over a period of nearly eighty years.

This is the epic story of stories, of imagination, of cinema, of growing up. The timeless fable of innocent childhood and true love - primal images and ideas recurring, in one long glorious symphony of transcendently beautiful animation and song. A tale as old as time. The union of the eye and the ear, joined by the conduit of narrative.

Snow White and the Seven Dwarfs is a wonderful film. Great animation, great music, suspenseful, hilarious, extraordinary. Frozen is its mirror image, one of many, but the most perfect to illustrate Disney's ideological journey. Although it lacks the original film's frights and technical innovations, Frozen shares its merits. But where the two films differ opens up a story.

Both are, fundamentally, about a queen - one is a monster, the other painted as such. Both are independent, strong-willed, intelligent women without any interest in men or reproduction, but Grimhilde is portrayed as a malicious maternal force that Snow White must escape from, as well as acting as her thematic alter ego: the Bertha Mason to her Jane Eyre, a dark and mature ruler in contrast to an innocent, virginal, infantile domesticated housewife. Snow White cannot grow up until Grimhilde, growing old and ugly, is murdered. In the process, she transforms into a grotesque cackling hag, an unpleasantly ageist segment to emphasise the purity of Snow White, an emblem of reproductive futurism on film if there ever was one. Snow White desires a prince and cares for the childlike dwarfs. She is the heteronormative ideal mother, unlike Grimhilde, who is ideologically a queen in more ways than one. She is a marginalised queer figure who must descend (mirroring Snow White's ascension towards a heavenly castle in the sky) in order to ensure there will be a conservatively utopian nuclear family. Why does true love's kiss overcome death? Because true love means sex, and sex means children - your essence, your genes, carry on through your offspring, even if your body dies. Notably, the death is caused by Grimhilde's poison - arguably representative of her jealousy. The promise of immortality is somehow antithetical to a desire to be ageless. More crucially, we are told that there is only one acceptable nature to women - for them to be subservient, dependent and heterosexual.

Frozen offers a different approach to this story. The queen, Elsa, is independent, and strong-willed like Grimhilde, and also a bit of an antagonist too. However, her gaining independence is the growing up bit. All too often, Disney princess films teach us that growing up is about escaping imprisonment under your father figure (usually an impotent obese dwarf) in order to be imprisoned under a young, virile prince. Elsa's is different. The zenith of the whole movie is the emotional triumph of "Let It Go". Yes, she returns to her kingdom and reconciles with her sister, but this does not undermine her transformation. She's free. She no longer hides herself or her queerness. Even at the end, she expresses no heterosexual interest or desire to reproduce. This ideological queerness, in direct opposition to the reproductive futurism usually promoted by Disney, is now celebrated, whereas decades before it was the ultimate sin.

But she reconciles herself with her sister - Anna, the modern Disney Princess and therefore the modern Snow White. Anna is not perfect - she takes the best of her progenitor, her ceaseless optimism, but is courageous, awkward, and undoubtedly sexual (consider her first meeting with Hans, calling him "gorgeous"). She is a 21st-century woman, and her lover is not her new gaoler, but an equal. The relationship between Queen and Princess makes more sense through sisters, because they mirror each other (also, Brave had just done its own mother-daughter story, so re-treading that could be seen as a bad idea). Elsa and Anna's reconciliation is the union between queer and straight. Acceptance, reflected in the presence of Jonathan Groff and the gay married couple that briefly appear. Yet this is not just a gay triumph, but a feminist one too.

The Golden Age has indeed gone, to be replaced by an era of liberal values. A period of a new kind of philosophically 'queer' individualism. Disney's animated classics are defined by the historical contexts they came from. I doubtlessly perceive Frozen as the completion of progress simply because it's the latest feature, yet this doesn't undermine the point. The best days are ahead of us. The future is hopeful. Without progress, Walt never would have gone from Mickey to Snow White. We would never have seen the improved characterisation and plotting of the Renaissance. Never have seen Pixar.

Frozen is not the Disney we grew up with. Yet it's an exuberant experience of animation and song in a fresh manner, and this is better than the alternative. It gives us healthier values and wonderful relatable characters - it is a renewal of the fairytale fantasy, rendering it more character-driven, retaining the merits, rejecting the daft cliches like Prince Charming. It is a perfectly enchanting, delightful film, and deserves its success.

You know, I've the strangest feeling I've seen that ship before. A long time ago, when I was very young.
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PrincessElsa
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Re: Frozen: Part V

Post by PrincessElsa »

Well, Dr Frankenollie seems to have provided a rather ideologically driven reading in one direction. But since turnabout is fair play, I figure I'd share a reading of Frozen that goes in rather a different vein (just to show in how many different ways this story can be interpreted).

http://kioewen.tumblr.com/post/66011868700/
Elsa: A Vindication of Traditional Femininity

In the current political climate, Disney faces a dilemma.

The pressure wrought by the disciples of political correctness, particularly feminism, has made it difficult for any media company — even Disney — to celebrate traditional femininity in its characters, as it once did with beloved princesses such as Aurora, Cinderella, and Snow White.

Disney knows that should it ever create a protagonist who exhibits a traditionally feminine demeanor (soft, gentle, demure, vulnerable), Leftist activists would bellow their resentment throughout every organ of social networking and in countless left-wing media entities.

However, despite decades of politically correct brainwashing, human nature has not changed, and the majority of the public still loves classic femininity and yearns to see female characters who exhibit such traits.

In particular, they long for princesses who look and act traditionally feminine.

So how does Disney solve this dilemma? How does it satisfy the yearnings of its target audience for a truly feminine princess, but outwit the Cultural Marxists?

Answer: It smuggles in femininity under the cover of plot.

(And bravo to Disney for doing so.)

In creating Elsa and giving her so many traditionally feminine qualities – grace, elegance, vulnerability, and the physical look of a classic princess – Disney devises a rationale to “justify” her having each of these traits:

By giving Elsa an understandable level of apprehension over her powers, Disney “legitimizes” making her vulnerable.

By presenting Elsa first garbed in more androgynous attire, Disney “excuses” her later softer, more delicate, ultra-feminine appearance.

By establishing Elsa as a future queen, Disney “rationalizes” why she would be graceful and elegant.

And so forth.

In another era, female protagonists could be all of these things without the need for plot-based justifications. Aurora, for example, could be vulnerable, look ultra-feminine, and be graceful and elegant, simply because these are quintessentially feminine traits, and the audience would have understood and unashamedly enjoyed the fact that she exhibited them.

But in today’s media and social-networking climate, in which the marginal Leftist resenters have such a loud voice, one needs legitimizations and rationalizations for timeless femininity.

In a sense, one has to piggyback femininity onto plot points.

And that is what Disney has done.

Indeed, via Elsa’s change in attire during the film – from the more androgynous hairstyle and confined garb of her initial appearance, to her subsequently more classically feminine, princess-like ice dress – the film provides a metaphor for any woman who has tortured herself into a career role (the kind that women in modern society are often pressured into adopting, in which they often diminish their feminine natures and take on androgynous, masculinized personae), then triumphantly eschews that modern role, lets down her hair, and embraces her soft, feminine side.

Frozen also deftly adds an extra element for cover: Elsa’s ice magic. The genius of this device is that is permits Elsa to be ladylike and soft – not physically aggressive in a masculine way (as are so many tomboy characters) – yet to avoid charges of “weakness” from feminist resenters by giving her a form of potency.

If a traditionally feminine character has to have power in some form, then magic is a marvelous way to endow her with such a quality without masculinizing her. It means that she can combat enemies with nothing but graceful gestures, or form snow giants to do her fighting for her. She doesn’t have to mix it up herself.

Likewise, by making her a queen, Disney satisfies Leftist demands for a “woman in power,” yet Elsa’s “power” as a monarch is never presented in the film. The film deftly appropriates the traditionalist aesthetics of monarchy without showing Elsa involved in the “tough” side of actually governing.

Elsa is never presented in an executive role, never shown legislating. Indeed, her rulership is sidelined immediately after her coronation. The only person in the film actually shown governing Arendelle is Hans – and he functions in that capacity exceptionally well, a steady, unemotional hand at the tiller of Arendelle, a man who is generous with the kingdom’s supplies, on guard for any hint of treason, and does what’s best for Arendelle and its people.

And best of all, at the end of the film, Elsa does become – quite literally – that most archetypal of feminine characters: a damsel in distress. Modern Leftist resenters spin the phrase “damsel in distress” as a pejorative, but there is nothing negative about it. Quite the opposite: it is human nature to care for someone you love, be it in a person in real life or a character in fiction, and a natural desire to want to protect them from harm.

To see a vulnerable young woman in peril stirs the heart, which makes the damsel in distress one of the most consistently compelling situations in literature or film, no less today – in these politically correct times – than in any other century, because despite decades of Leftist media brainwashing, the human heart is immutable and does not change.

In Frozen, then, Disney skilfully embraces this traditional circumstance, putting the vulnerable young Elsa in a classic situation of a damsel in distress, yet dodges resentment-based Leftist critiques by allowing her sibling instead of a suitor to rescue her. Truthfully, if a male love interest had performed the rescue, it would have been just as powerful a moment, but even in the way that Disney has configured it, Frozen exploits the dramatic possibility inherent in a damsel-in-distress situation with a classically feminine character, but sidesteps Cultural-Marxist criticism with a family tweak.

Truth be told, Elsa would have been beloved by the public just as much if she had possessed all of her essentially feminine vulnerability and elegance without any “justifications” in the form of plot points, and if she had been a damsel in distress saved by a male hero. The human heart has always responded to archetypal femininity, just as it has always responded to traditional masculinity, and always will.

But for whatever reason, Disney is wary of media disapproval. Therefore, it smuggles in femininity and justifies it in story terms. But that is not to be lamented, because the end result is still the existence of a character in a modern film who exhibits a greater number of traditionally feminine qualities than have many Disney princesses of the past several decades, and one who will, for that very reason, be much beloved by the public (many of whom won’t even recognize why they adore her character so much).
taei
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Re: Frozen: Part V

Post by taei »

Does it bother anyone else that there are no voice affects in Let it Go aside from Elsa's powers?

Is it an artistic thing?
Like when she's walking in the end, why can't we hear footsteps? She's walking on polished ice in heels...
We can hear footsteps in For the First time in Forever..

just a thought..
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and the bravest journeys, are never taken alone."
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RayCRP
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Re: Frozen: Part V

Post by RayCRP »

taei wrote:Does it bother anyone else that there are no voice affects in Let it Go aside from Elsa's powers?

Is it an artistic thing?
Like when she's walking in the end, why can't we hear footsteps? She's walking on polished ice in heels...
We can hear footsteps in For the First time in Forever..

just a thought..
Maybe the soles of her heels initially had some sort of snow padding, so as to not scuff or scratch up her new floors, and they wore away after a while? Or maybe the sound team just didn't want to distract from the build to the song's climax and end of the first act.

Reminds me of when I pointed out that Ariel's hair was blowing in the wind at the end of Part of Your World (reprise) despite being soaking wet, and everyone called me out on being picky about an animated film about mermaids...
Please voice your desire for a domestic 3D Blu-ray release of Frozen!
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taei
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Re: Frozen: Part V

Post by taei »

RayCRP wrote:
taei wrote:Does it bother anyone else that there are no voice affects in Let it Go aside from Elsa's powers?

Is it an artistic thing?
Like when she's walking in the end, why can't we hear footsteps? She's walking on polished ice in heels...
We can hear footsteps in For the First time in Forever..

just a thought..
Maybe the soles of her heels initially had some sort of snow padding, so as to not scuff or scratch up her new floors, and they wore away after a while? Or maybe the sound team just didn't want to distract from the build to the song's climax and end of the first act.

Reminds me of when I pointed out that Ariel's hair was blowing in the wind at the end of Part of Your World (reprise) despite being soaking wet, and everyone called me out on being picky about an animated film about mermaids...
Ariel's hair drys 10 times faster than normal human beings.
Come to think about it, her footsteps barely bake sounds in the movie. Maybe there is snow padding. lol
"In every age, Family is king,
and the bravest journeys, are never taken alone."
-Brave.
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