Comparing Fluidity In Andersen And Disney

The definition of fluidity is, the state of being unsettled or unstable; changeability (“Fluidity”). Hans Christian Andersen and Disney incorporate the theme of fluidity in both of their respective works. Environments, characters, and themes across the works constantly shift and move from one state to another both physically and symbolically. This theme of fluidity finds itself incorporated in how female subjectivity is presented in both tales. What characters are expected to be and how society is supposed to be structured, are in constant motion. The tale may begin in one fashion but end in a completely different one, creating a dynamic storyline. In this analysis, female subjectivity is analyzed through the lens of fluidity in a matriarchy

As the tale progresses the norms that each sister represents change as well. Whereas the oldest sister is quite reserved and not as daring, the youngest sister is curious, daring, and pensive. Each sister in between is a variation of the one before or after her; this is proven by how each sister uses her trip to the surface. The oldest sister watches the human world from afar, the third sister goes up a river and attempts to interact with humans, and the youngest sister peers into a sailor’s ship where she gazes upon a handsome prince. The second, fourth, and fifth sister merely stay in the ocean and do not approach the shore. In addition, “The Little Mermaid” teaches young girls to conform to the beauty standards of others. In one of the conversations the grandmother has with the youngest sister, she warns her, “That which is so lovely here in the sea—your fish tail—they consider hideous on earth…Up there you have to have two clumsy pillars that they call legs in order to be beautiful” (Andersen 76). It is after this conversation that the Little Mermaid seeks the assistance of the sea witch and turns into a human. The Little Mermaid’s desire to conform to human beauty standards and marry a human prince are what contribute to her demise. In addition to being taught that a girl must conform to other’s beauty standards, she is also taught that a man makes a woman whole. The grandmother

Both Elsa and Anna begin the tale inherently flawed. Elsa relies on a male figure to control her dangerous powers and Anna is reckless; one sister follows the traditional behavior of a princess while the other does not. Through one perspective Anna is unique in her portrayal as an independent woman, while in others she is not. Anna places a great deal of importance on marrying and relying on a man for happiness. Her desire to marry Prince Hans immediately after meeting him shows her desire to conform to societal standards that dictate marriage will bring about happiness and experiences. Both of which Anna lacked during her childhood because of her sister’s and family’s isolation from society. Another example of Anna’s reliance on male power is how she needs Kristoff’s assistance to rescue Elsa. This moment in the film is interesting because on the sleigh ride to the mountain both Kristoff and Anna are surrounded by wolves. Kristoff does not want Anna’s help, a nod to the male not needing female assistance, but Anna refuses to take no for an answer and ends up being Kristoff’s savior. Furthermore, both girls are pressured to be perfect. Elsa sings about this in “Let It Go”, “…that perfect girl is gone” (Lee, Frozen). She no longer desires to conform and hide her powers, she wants to be able to be herself even if that means living in complete isolation. All of this is done to find