Abjection on Ice: The Unique Representation of Abjection in Frozen
DOI:
https://doi.org/10.70091/Atras/vol07no01.12Keywords:
Abjection, female castratrice, Feminism, feminist analysis, PsychoanalysisAbstract
Feminist film scholars have extensively explored the theme of abjection, primarily within the context of horror movies. Barbara Creed argues that abjection is prevalent in horror films because it evokes fear in the subject within the symbolic order by reminding them of their connection to the maternal, and, by extension, their fragility in the paternal symbolic order. These reminders, embodied in abject forms, are ultimately defeated by a patriarchal hero, who symbolizes the normative order, thus alleviating the anxiety generated by the film. This has led many scholars to contend that abjection, despite being a feminist tool of study, serves to justify the patriarchy's disdain for abject bodies that deviate from the symbolic norm. This paper aims to examine the animated film Frozen through the lens of abjection theory, illustrating a shift in these trends and demonstrating that abjection is not confined to the horror genre. Elsa, the protagonist of Frozen, is queer-coded and embodies numerous abject elements. Initially feared, she is ultimately integrated into the symbolic order. This study will analyze Elsa's portrayal to highlight a unique representation of abjection and explore the depiction of abject bodies and women in contemporary popular media.
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