Description: «Featuring the voices of Kristen Bell and Idina Menzel, “Frozen” is the coolest comedy-adventure ever to hit the big screen. When a prophecy traps a kingdom in eternal winter, Anna, a fearless optimist, teams up with extreme mountain man Kristoff and his sidekick reindeer Sven on an epic journey to find Anna’s sister Elsa, the Snow Queen, and put an end to her icy spell. Encountering mystical trolls, a funny snowman named Olaf, Everest-like extremes and magic at every turn, Anna and Kristoff battle the elements in a race to save the kingdom from destruction.» (c) Disney
«Frozen» – a much-talked-of animated cartoon, released on screens in the end of 2013. At first sight everything looks fine: it’s a colorful full-length cartoon filled with adventures, cute characters, touching songs, beautiful effects and apparently important sense. There are two main ideas presented by a cartoon: 1 – An importance of being oneself and show one’s individuality, 2- An importance of love as a great power, which is able to rescue and cure.
At the center of narration there are two sisters of the royal family – Elsa and Anna. Elsa is given with an ability to spell winter elements, that brings danger for surrounding and sufferings for the girl her-self. Elsa’s magical ability – is the center of the whole story, and that metaphorical individuality about the demonstration of which it is spoken. And the true love – a classical theme in a Disney’s cartoons – is searched for the rescue of one of the heroines and turned out to be a related love of sisters.
The cartoon collected many enthusiastic reviews and fans, rather big amount of money and a number of serious awards, including an Oscar for best animated feature.
However the analysis of the story uncovers the true idea of the cartoon lying not so far from the surface. «To be oneself» and a curing love theme lead here to a more narrow direction: to a theme of homosexuality and accepting it by a society – slightly speaking: not so childish theme in a child cartoon. Subjectively speaking: a flagrant theme in a child cartoon.
Everything that necessary is carefully «packed» in a beauty of frames and sounds charming organs of senses.
But in a «skeleton» of the story two connected with each other characters are situated, two girls. One has to hide her individuality (or peculiarity), that is shaped by creators into some kind of a magical power, the second heroine is trying to convince the first of an open self-expression. Coded into a message, the individual peculiarity could be anything, but it is exactly a sexual desire to the same female sex, about what a certain amount of analogies is speaking:
- the story of true love and a key moment of love expression happen between two characters of the same gender;
- heroines are pictured as relatives, but their relations are emotionally accented with some exaggeration (emotional reactions which look like jealousy, also an intensified commitment in each other, that is showed in a superfluously expressive looks, gestures etc.);
- by the part of entering the adult life parents are removed as a visible sign of a relative connections;
- allegorically constructed, commonly used dialogues between heroines, where a polysemantic vocabulary is in use, that never particularly names the magic ability, but pointing to its peculiarities and consequences, connected with its use;
- it is making an extra pressing on characteristics, that are similar to homosexual orientation: an inborn peculiarity that causes a strong necessity of total repression and unexpression in society;
- the problem of demonstration of such peculiarity doesn’t correlate with an inability to use it, but correlate with surrounding people and consequences of expressing this peculiarity on them (it is shown as a danger for people outgoing from a heroine’s magical power);
- an appearance of a secondary episode, where a family, that could be interpreted as a homosexual family, is shown (an episode in a house of a shop-keeper Oaken);
- also in addition: jokes about zoophilia (Kristoff and Sven) as about one more deviation of sexual orientation.
If not to involve into emotional component of the cartoon, into fascinating songs, beautiful picture, which cause a positive response of perception, there is much in the cartoon, that seems to be illogical, much – too exaggerated, much – simply strange. Watching with a stress on a logic, but not emotions brings an impression of some kind of a strange duality of the cartoon, as you were watching two films at the same time.
The most obvious are abstract dialogues. It looks extremely strange, how characters during the whole cartoon discuss sufferings, isolation and so on, never speaking anything concrete about the snow magic power, thus the concreteness of the magic moved away to the background, and to the foreground purposely moved out other aspects of the ciphered problem. The magic power works as a screen for promoting required ideas.
In a matter of fact, relations between the heroines Elsa and Anna are shown on three semantic levels, one of them is evident and two others are tacit:
Anna’s character is strongly divided: on one hand she is a tacit single-sex partner of Elsa, (i.e. also homosexually-orientated), on the other in some episodes she shows positions of traditionally-orientated people as distinct from homosexuality and thereby becomes Elsa’s antagonist, that creates some contradiction for perception.
As for family relations, an interaction of different orientation representatives in one family is meant, as a subpoint of the first evident sisters level – that is about a situation, when there is a representative of a sexual minority in a family, that could cause a separation between immediate relative.
*In the review it is not looked the plot line with the political intrigue as an unimportant for the main theme of the cartoon.
[So, in some place called Arendelle a royal family lives: a King with a Queen and their two daughters – the elder Elsa, and the younger Anna. Elsa has a magical power: she can conjure snow, ice and hoar-frost and so on in different forms. Anna wakes Elsa up in the middle of the night, to play with her. Girls play together, the elder one uses her magic power conjuring snow for games, at first everything goes well, but an accident happens: Elsa hits sister by her magic accidentally, that caused faint and driving to death icy numbness. Scared parents that found Anna in a dangerous condition immediately prepare and take both daughters to a secret place to Trolls.]
Anna convincing her sister to play asks her a question if she wants to make a snowman, to that further by the story viewer’s attention is drawn many times. The phrase: «to make a snowman» is one of the crucial, it points to joint creation, cooperation of sides (in all semantic levels from the table above). The snowman itself is a kind of a symbol of the first successful interaction of heroines (both sides in a family, couple, society), who further appeared to be separated. Also if to speak about single-sex partners, than the snowman as a product of joint creation – is a common child.
*A line with a snowman opens up very interesting by the end of the cartoon.
Everything seems to be alright, girls have a lot of fun playing together, but an accident happens that is caused by a magic («peculiarity») of Elsa. This is a beginning of the plot. Because of the accident sister’ parents decide that Elsa’s power is dangerous and has to be hidden, that causes character sufferings and further peripetias of the plot.
So, Elsa’s peculiarity appeared from a dangerous side, Anna got a serious injury, and parents take daughters to a magical characters – Trolls – to «diagnose» and cure.
The chief of the Trolls first of all asks, if Elsa was born with such ability or was cursed. Parents answers, that she was born such. This specification on which the definite accent is stressed: i.e. «peculiarity», about which it is spoken in the cartoon, doesn’t get as a curse (=illness), but appeared to be inborn.
The troll says that a magical snow strike hits a head (adding, that it’s good that not heart, because «the head can be persuaded»), this uncovers the meaning of the previous episode. In particular head hurting by the snow magic – it is some kind of «frostbite» of mind and a metaphor for naturals prejudice (Anna as a symbol of a traditional orientation representative) against homosexuals (Elsa), which is happening during a game, i.e. during an interaction of the sides. An accident is a result of the both sides’ joint actions.
Also it is shown, that it happens occasionally and not by any personal will. Elsa didn’t wish that what was has happened (= a homosexual society doesn’t wish such effect). As a result of the accident further rupture of relations happens between the sides (all of the semantic levels: sides in a family, couple, socium), which lasts till the end of the cartoon, as a general conflict that had to be solved.
The accident itself with discovered «codes», could be interpreted nearly so: a homosexual society (=Elsa), by the causes that spring from nature of the «peculiarity» and its demonstration (=magic and magic control) during the interaction with a traditional social group shows itself insecurely (=occasionally hits), causing a prejudice (= head injure), but not wishing that to happen (= Elsa sorrows that it has happened ).
[The chief of the Trolls cures Anna and erases her memories, that her sister has a magical ability keeping at the same time all impressions from relations with sister. He explains, how dangerous Elsa’s power is.]
The Troll with a qualify look pronounces a recommendation to remove all Anna’s memories about Elsa’s power, but at the same time he does it in a special way: he removes the specific of that snow and ice in joint games of sisters was conjured by Elsa, keeping all those events in a frame of nature circumstances.
He clarifies about that: «But don’t worry. I’ll leave the fun». In other words he keeps impressions of happiness for Anna of the original relations and games with Elsa. It’s a special move from the creators, which can be interpreted in a sense of rewinding back in the level of the social groups.
The cartoon in general is addressed to people with traditional orientation, not accepting homosexuality (it will be mentioned a little later), and the moment with such strange erasing of memories is like an appeal: forget about homosexual orientation of these people as about particular specificity (an erasing of all the memories exactly about Elsa’s power from Anna’s mind), treat them just like ordinary people and keep the joy, that brings, or can bring your interaction (Anna’s memories about the joy of being close with Elsa).
Also the way how the Troll speaks that «the head can be persuaded», and his special manipulations with Anna’s memories address to technologies as such, throughout which it is possible to make changes in a social opinion and control it. Trolls are shadow characters packed in a positive form of sages of Nature.
Further the Troll shows to Elsa what her power is and what will be happening with the heroine, by demonstrating a little scene of silhouettes in air: «Listen to me Elsa. Your power will only grow. There is beauty in it… but also great danger. You must learn to control it. Fear will be your enemy».
He says «fear», showing how silhouettes surrounding Elsa from the blue color (neutrality) turns into red one (aggression) and attack her from two sides, but not run away, being afraid of her power, as it could be in connection with fear. In other words beyond the mentioned «fear» the aggressive moods coming from surrounding are more likely meant.
The Troll claims: «Fear will be your enemy»- that’s important. It is on what the accent is stressed: not an inability to use the power, but in particular «fear», and in another meaning here: in a meaning of aggression, unacceptance, intolerance etc. Also her own fear, but under the impact of surroundings’ sentiments.
As a result the Troll’s message is formed in the following way: Elsa’s magic power (=homosexuality) is – 1. Inborn, 2. Beautiful (=natural, nonhostile, has a creative potential), 3. Dangerous, because of fear (=unacceptance) of surrounding.
Parents decide to take care of Elsa’s safety.
Father says, that he will protect Elsa from the «enemy» (=«fear» = unacceptance), and that she’ll definitely learn to control her power.
The protection looks this way:
- « Keep her powers hidden from everyone».
- The Sun blinds and gates are being closed.
- Maximum of staff are being reduced.
- Contacts with other people are being limited.
- Sisters are being settled separately in different rooms and they are not allowed to communicate.
And the power control according to father’s directions looks such way:
- Conceal it.
- Don’t feel it.
- Don’t let it show.
It seems to be that power control logically means managing it, but in fact here is shown not managing, but suppression. «To control» «power» and in that way «to be protected» for Elsa – it is to suppress and hide her «peculiarity», to hide an attraction to her gender representatives, not to stimulate the others’ allegorical «fear» and to be out of danger.
[Elsa is sincerely worried about the fact, she brings harm and danger and ready to cooperate placing her-self in an isolated location. Anna at the same time doesn’t understand why they are separated, she has got memories about being close to her sister and the joy, which their relations have being brought. She loafs by the door to Elsa’s room, but it’s always closed and sister doesn’t make any contact. At the palace there is nobody for Anna to talk to, and she feels her-self very lonely.]
Girls are separated by the «fear» (=intolerance). Heroines have no ability to interact and many years of loneliness and estrangement pass by. It is also shown to us that the power is growing and it could be less controlled, that was also predicted by the Troll. She looks with aware on her hands, which are creating severe cold.
Elsa can’t control (=suppress) her magical power (= homosexual orientation), because it is, as it was mentioned, something inborn and natural. It is, who she is, her integral part. However she can’t express her-self because of the danger (=intolerance of surrounding), that the power carries.
Also Elsa always has an accently suffering look during the whole story. She is a suffering, isolated from any person, to whom it is not allowed to express her-self.
[The situation proceeds to a new stage, when parents die in a shipwreck, leaving sisters to them-selves. Some years pass and got of the full legal age Elsa becomes a Queen of Arendelle. In connection with coronation a ball is arranged and first for a long time the gates are open for public.]
A celebration of coronation is accompanied by long-awaited opening of the gates.
Coming of age, the coronation and the opening of the gates – it’s a moment of symbolic entrance to an adult life, a position of openness to the world, announcement about one-self and demonstration of one-self as a fully-fledged member of socium, also as a sexually ripe person.
Elsa is afraid of this moment, because of her «power» (in other words: she can’t avow about her homosexual orientation and show her-self free among people in that status). She repeats that were learned: «to hide power, not to feel, not to show it», reminding her-self about necessity to suppres her nature, not to show it to anyone, because it is «dangerous».
Anna, to the contrary, is happy about the celebration and the opening of the gates, she is tired to live in a strange isolation. The contrapositive sisters’ attitude to the «gates opening» – it is some kind of positions of homo- and hetero-sexual groups of society to a question of open manifestation of one-self.
The ball – it’s a festival, a symbol of a full-fledged, complete life, which, as it’s shown here, is available for naturals and unavailable for homosexuals. Anna is very happy, she says to Elsa, that wants their life always o be a festival, as it is today, she doesn’t want estrangement anymore. Elsa also doesn’t want estrangement and isolation, but she can’t see a possibility to participate that full.
[On the day of coronation Anna meets prince Hans, in whom she quickly finds a relate soul. On the wave of strong feelings they decide to get married.]
Anna, disappointed with Elsa’s reaction to her proposition to continue the festival in a further life, headily finds a lacking mutual with prince Hans. They inspiredly sing a song «Love is an open door» in contrast to «closed gates» of homosexuality.
Anna and Hans immediately decide to get married demonstrating a creators’ message about how easy and even blindly the naturals can show their worth in relation to marriage and family.
They ask Elsa, as a new queen, for a blessing of their marriage. She becomes very upset, because of her sister’s decision. Her exaggerated grief shows, that homosexuals don’t have an ability to create full-fledged families, in principle (one of the burning issues in many countries), not to mention that blindly and rapid.
[Anna agues with Elsa about her marriage.]
Anna calls Hans her true love and blame Elsa that she doesn’t know anything about the true love and all that she can is to push aside everybody and the whole world from her-self. She express such opinion according to her «forgetfulness» about Elsa’s peculiarity, let remember that the Troll has deleted Anna’s memories. It’s hard to hear Anna’s words for Elsa, that she could not love, but could only push aside from her-self, because her position of self-isolation is forced, it is not allowed to her to show her-self, but it wasn’t her wish.
[Elsa, being angry, not controlling her-self and not wishing that, calls her ice-snow magic, people around become scared and magic erupts more and more. As a result the Kingdom falls into a deep cold winter and Elsa escapes from everybody to the Northern Mountain, where settled in an ice-palace.]
The heroine couldn’t pass the «opening gates» moment, because it’s prohibited to her to be her-self among people, but she can’t.
Her magic creates an icy barricade between her and the others, i.e. his magic metaphorically separates her from everybody else, just like the homosexual society feels it-self separated from socium.
Thus, the cartoon’s name «Frozen» signifies status of the homosexual group in socium, where they are as though separated and as though «frozen».
But «Frozen» in the cartoon’s message also is a state of mind and heart of the traditional majority that keeps its attitude to homosexuality frozen, cold.
It has to be said, in that story not the ideas of homosexuality it-self are being promoted – here it has already determined as a beautiful, inborn and potentially-socially non-hostile phenomenon, the ideas of position and its change in society and its complete acceptance of majority are being promoted. Also a question of a single-sex marriages and to a certain extent a question of adoption are clearly asked, it will be spoken below.
So, after an unlucky demonstration of her peculiarity at the ball Elsa moves away from people and Kingdom and sings a song, where the main idea is that she is not guilty, she was born in a such way and she feels sorry, that she can’t express her-self among people, such as she is, and if there is nothing to do, only a total isolation is left. By moving to the Northern Mountain, away from anybody, the heroine starts to express her individuality freely and productive – beautiful snow effects, that appears according the song, gives an understanding of how beautiful the heroine is in her creativity. Elsa builds a snowman again, the same as it was at the beginning of the story. The snowman – as it has been already mentioned – is a symbol of creativity, self-expression and production.
[Citizens of Arendelle are thrown into confusion. Anna thinks that she is guilty in everything that has happened, because she disappointed and made angry her sister by her prompted marriage and goes after her.]
After Elsa’s escape Anna starts to blame her-self actively, that she is guilty in things that have happened, that all is about her marriage that has disappointed her sister.
By the fact that Anna (who’s keeping a role of a heterosexual society) takes the WHOLE BLAME for this accident, a definite message from the cartoon’s creators, who promote a normalization of homosexuality in society, is contained.
Anna takes her blame and rushes to correct and fix everything – in other words, the naturals in relation to the homosexuals must analogically take their blame for the fact that those are suffering, because of their position, and make a required step for integration.
However, it’s important that Anna (hetero-) by seeing Elsa’s peculiarity (homosexuality) during the ball is the only one who takes the occurred easy. Anna just mentions that Elsa has never told her anything about her secret, but she should. The cartoon is trying to lead viewer through a certain amount of analogies to a real life (the rejected in society homosexuality in a form of rejected ability to do magic and so on ), but this exactly moment, where hetero- Anna takes the blame and sympathy – it’s an analogy to something that doesn’t exist in society at all, that’s why it is a false idea in the plot.
Along the way Anna gets into a shop to some shop-keeper Oaken, who additionally enforce promoted ideas. Oaken as if occasionally points to a family, sitting by the door in sauna: «Say hello to a family!»
The character doesn’t precise what family it is and where it is from, just « a family» with which it has to be greeted. There is a man, children and a male looking character who could be identified either as a boy-looking girl, as a wife of the man, or as a teenager, that in this case makes this family a family of a man, the shop-keeper. This is an additional piece of a picture that creators tries to gather in one piece – a normalized open homosexuality, that is ready to a wide demonstration. Anna looks towards the family nicely and approvingly.
[Anna asks and hires a met ice-cutter Kristoff, to get her to the Northern Mountain, where she hopes to find sister. Along the way they meet a snowman Olaf, that reminds Anna a snowman which they have sculptured in a childhood.]
Anna recognized a snowman by a phrase from the childhood: «Hi, I’m Olaf. And I like warm hugs».
Olaf’s appearing could be interpreted as a claim of necessity to rehabilitate past relations between the heroines. (By the way, if look an analogy to a social level, then another false idea is contained here: there is no possibility to rehabilitate something, that hasn’t been existed – an understanding between homo- and hetero- in society).
The snowman says that he always liked the idea of summer, and sings a song about this his dream. It’s interesting to notice that a snowman in summer it is unnatural. It’s an analogy that homosexuality is also seems to be unnatural. About the snowman’s dream and its destiny it will be spoken later.
[Olaf knows, where Elsa is, and is ready to accompany everybody there. They arrives in to an Ice palace altogether, Anna convince Elsa to come back.]
On their way to palace it is mentioned that Anna doesn’t afraid of Elsa and is sure that she wants to see her, because «nobody wants to be alone» – it is for the same piggy bank, that the heterosexual majority should show initiative in relation to people, who left in a social loneliness.
By entering the palace Anna notices, that it’s a first time when a door to Elsa’s room is not closed.
Elsa has changed in a better side visually. In expulsion, where no one forbids her to be her-self, she looks prettier, her clothes is brighter and low-cut, her ice palace – created own world – is beautiful and unique. It’s a symbol of a realized individuality.
A dialogue between sisters with an underlying theme:
Elsa: «I never knew what I was capable of.»
Anna: «I’m so sorry about what happened. If I’d have known…»
Elsa: «No, no, no. It’s okay. You don’t have to apologize, but you should probably go. Please.»
Anna: «But I just got here.»
Elsa:» You belong down in Arendelle. (=society)»
Anna: «So do you!»
Elsa: «No, Anna, I belong here (=in isolation). Alone. Where I can be who I am, without hurting anybody. (=not to bother anybody, not to cause somebody’s rejection, dislike)»
Olaf appears, as a reminder of true productivity of life, and Elsa begin to think about her abilities. Anna reminds her, that they have built the same in a childhood and says that they were so close and they could be like that again.
Elsa remembers that accident in a childhood (= the first pain of rejection), become frightened and asks them to leave.
Anna explains that she finely understands everything, she accepts Elsa, and now they can act together. Sisters begin to sing a song, pronouncing many crucial phrases. Anna to Elsa: «You don’t have to keep your distance anymore»; «I finally understand»; «We can fix this hand in hand»; «We can head down this mountain together», «You don’t have to live in fear» and so on. Elsa continues to refuse, wants to stay alone, where she could definitely stay free.
Then Anna explains, that it is not only their level (=interpersonal), Arendelle is plunged into an eternal cold winter (= this question is on a larger-scale level).
Anna: «Well. It’s okay. You can just unfreeze it» (= you can influence on public opinion, «unfreeze» it). Elsa answers that she can’t, because she doesn’t know how, then she becomes angry:
«Oh, I’m such a fool! I can’t be free!» (= an understanding, that it’s impossible to solve the problem just conserving it into a reserved space, an expulsion isn’t equal to a freedom).
Anna continues to offer her assistance, but Elsa rejects her help.
Elsa: «There’s so much fear!» (= there is still a lot of hostility to homosexuality in society).
As a result of negotiations, Elsa again hurts Anna occasionally, now in the heart.
A part of mental hostility is closed, and now a rejection of the question by heart is distinguished. A head damage by the magic (= mental hostility) in the cartoon seems to solve: by arriving into the palace to Elsa Anna says that she «finally understands everything» (mental understanding) and is ready to assist. The next stage is heart, in which «love» to the distinguished phenomenon has to be settled.
[To banish the company, Elsa creates a snow monster. After an escape from the monster Kristoff notices that Anna’s hair starts to go grey. And she, like in childhood after the first got strike, feels an unexpected weakness and little by little looses her forces. They go to Trolls, who can help and cure Anna.]
Kristoff calls the Trolls as «love experts». In one hand the look as a symbol of wise Nature, we see, that in an inactive state they are just simple rocks scattered on the meadow. The Trolls are given as accently positive characters. In other hand, the way, how the chief Troll – a quintessence of wisdom – has made the manipulations with Anna’s memory suggests not the Nature, but the modern technologies of public opinion control, through a bypass giving of requesting messages.
Also the fact the Trolls are love experts, is cleared in a very strange way: at the beginning of the story the Trolls accepted Kristoff and his deer to their family. But in that episode, a song about love that «fixes» all person’s oddities is sung, which are enumerated in enormous quantity by the example of Kristoff, at the same time regarding him and his deer some strange hints are being made. I.e. the Trolls «accepted» even such deviation.
[ The Trolls can’t help the failing girl. The chief says that only a manifestation of a true love could cure a freezing heart.]
The chief Troll says to Anna:
«Anna, your life is in danger. There is ice in your heart put there by your sister.» (Your sister caused a rejection in your heart).
«If not removed, to solid ice will you freeze forever». (If not to solve this rejection, so it will still last such way).
«If it was her head, that would be easy» (If it was a mental prejudice, it could has an effect, as it was earlier).
«But only an act of a true love can thaw a frozen heart». (To solve the problem it has to be a full acceptance of heart).
[The company returns in Arendelle, so that Anna’s fiancé could take away her curse by a kiss. However it turns out, that Hans has never loved Anna, and undertook a shady deal to join the royal family and afterwards to get the throne. He locks the weakening girl in a cold sitting-room and goes to deal with another sister, who, a little earlier, was brought and put into a prison by him and people from the Kingdom. A snowman Olaf is in time to save Anna, and Elsa by her own, using her magical powers, breaks free from the prison before Hans coming. A culmination of the story happens on ice field, where all main characters meet.]
All main characters – Anna, Elsa, Hans, Kristoff, Sven, Olaf gathered on ice field, it means that it’s time to solve the problem. Hans raises a sword upon Elsa, Anna by seeing it, is deciding what to do: to run for a kiss to her true love Kristoff, who will presumably save her, or to run for rescuing her sister. Anna chooses the second and rescues Elsa from death, by tuning into an ice statue, which becomes a barrier for a sword. The sword breaks into pieces and Elsa is saved.
Seeing a frozen Anna, so greatly sacrificed her life, Elsa cries bitterly and embraces sister. She thaws out and recovers. The moment is claimed by Olaf as a demonstration of a true love.
Anna says to Elsa, that she loves her, i.e. the heroine finally gets a necessary accepting.
Elsa with brighten look understands that love is the thing that was needed to control her power, and gives back summer into the Kingdom.
[Citizens aren’t afraid of Elsa anymore. The heroine creates a skating rink in the royal palace yard.]
Elsa is «socializing» and demonstrates a use of her integration in society. By her magic (that earlier was dangerous) she creates a public skating rink for citizens of the Kingdom, where everybody happily spends time.
A snowman Olaf, as a fruit of love/creation/cooperation gets a magical support in a form of a snow cloud, which condensate him summer heat – it means, that his dream about summer came true, but he doesn’t melt at the same time.
He is, as a joint creation of Anna and Elsa (for the first time he appears in that game before the accident), a kind of their child, and the moment with a cloud, that let him live in summer – it’s a pointing on artificial support for single-gender pairs to have children (adoption, surrogate motherhood and so on), in analogy with that the snowman in summer is unnatural, but with artificial support this idea is possible.
As I have already written at the beginning, under the peculiarity, that is represented here in the form of a magical power, because of which a heroine is «cut out» from the surrounding world and suffers, it could be anything, any characteristic, by which it’s possible to be rejected by the other people: it could be an excess weight, stuttering, limping – any physical characteristics or sides of a character, but here it is exactly the homosexuality. A list of appropriate analogies of Elsa’s situations I have named earlier. An additional confirmation is also in the «Frozen» an important accent of the marriage question.
Also it’s unlikely, that the «Disney» company stepped aside from their classical canons in stories and released a cartoon about love with two princesses accidently or just for variety. Moreover this cartoon is a screening (though most likely a variation on this theme) of a fairy tale the «Snow Queen» of H.-C. Andersen, where main characters were a boy and a girl, but not two girls.
Also it has to be noticed, that in the «Frozen» there were represented no handsome or honest male-character . Two main male-characters – the first one turns out to be a greedy villain and the second is represented as a foolish clodhopper and an encyclopedia of disadvantages, to which in a very remarkable way were added hints at zoophilia. Both of the characters during narration are chosen as variants of a true love for Anna, but in culmination Elsa becomes the true love.
To be sure in accuracy of interpretations, that find out placed ideas of a normalization of homosexuality in society, one needs to watch the cartoon moving aside emotional perception and to understand, what particularly do and say characters.