We argue that the character of Anna in the Disney animated feature film Frozen, when examined through the lens of character strengths, is one of the strongest characters in recent film history. Nevertheless it is notable, on both sides of the Atlantic, that consumers (young girls and adults alike) have a particular fascination with the older sister Elsa, viewing her as the beloved character of the film

Bretherton, Roger

Niemiec, Ryan M.

University of Lincoln Institutional Repository

PsycCRITIQUESJune 29, 2015, Vol. 60, No. 26, Article 10© 2015 American Psychological AssociationThe Character-Driven Person: HowFrozen’s Anna, not Elsa, Is anExemplarA Review ofFrozen (2013)by Chris Buck and Jennifer Lee (Directors)http://dx.doi.org/10.1037/a0039283Reviewed byRyan M. Niemiec , Roger BrethertonThere can be no doubt that Disney’s 2013 computer-animated, musical fantasy Frozen madea significant worldwide impact. At the box office it earned over $400 million in the UnitedStates, and nearly $900 million elsewhere, leading to an estimated worldwide totalapproaching $1.3 billion (Box Office Mojo, n.d.). It therefore currently stands as the highestgrossing animated film of all time (McClintock, 2014).Alongside its popularity, Frozen could equally be viewed as a significant culturalphenomenon. It is unusual among Disney films, and has been praised by feminist critics(e.g., Dockterman, 2014), for having two main female protagonists: Elsa (the newlycrowned queen with the “flaw” of turning everything she touches into ice), and Anna (heryounger sister), both present as basically good characters. It easily meets the criteria of theso-called “Bechdel Rule,” the gold standard for female empowering cinema, requiring that:(a) two women, (b) talk to one another, about (c) something other than men (e.g.,Dockterman, 2014).We argue that the character of Anna, when examined through the lens of characterstrengths, is one of the strongest characters in recent film history. Nevertheless it isnotable, on both sides of the Atlantic, that consumers (young girls and adults alike) have aparticular fascination with the older sister Elsa, viewing her as the beloved character of thefilm. Whether attending Disney-on-ice with our children or simply perusing the Frozen aisleof stores, Elsa’s light blue colors are much more in evidence than Anna’s pink. In sales ofnumerous items, such as soup, mouthwash, dolls and dresses, Elsa products far out-sellAnna products (Byron & Ziobro, 2014) and Elsa products outsell Anna products by 46% inshipments (Sizemore, 2014). Perhaps partly as a consequence of this, Time magazineranked Elsa the most influential fictional character of 2014 (D’Addario, 2014).Why Elsa Captivates ViewersElsa particularly appeals to young children. She has a blonde Barbie-like appearance andwears a “sparkly blue dress,” which in itself appears to be enough to attract young girls toher costume. She also sings “Let it Go,” the show-stopping song of the movie, which wonthe 2013 Academy Award for best original song (Box Office Mojo, 2013), and receivedwidespread critical acclaim as “an incredible anthem of liberation” (Snetiker, 2013, item no.2). The remarkable effect of the song on children has been noted by columnists who havedubbed it “musical crack” (Abraham, 2014, para. 3), and an “epidemic sweeping the nation”(Candy, 2014, para. 3). Social media have been awash ever since release of the film withfootage of young girls dressed as Elsa, performing the song. To top it all, unlike her sisterAnna, Elsa has magical powers that cognitive anthropologists would call “minimally counterintuitive” (MCI; Boyer, 2002)—exotic enough to fascinate us, but familiar enough to berecognizably human.There are, however, some other more “adult” reasons why Elsa has taken the limelight. Sheis the more overtly sexualized of the two sisters, as evidenced by the response of U.S.Marines to the “Let It Go” sequence of the film (itsMRich, 2014). She has also been heraldedas a champion of the ostracized and rejected. As one critic put it:She’s a young woman in difficult circumstances, frightened, trying to understand herabilities and burdened by expectation and convention. It’s easy to sympathize with herand marvel at her ability. . .Next to her, Anna is very much a child who needs to growup. (Pal, 2013, para. 7)But the majority of accolades reserved for Elsa by adult critics refer to her “moralcomplexity.” There are too many examples to cite at length, but Donna Dickens’s (2013,paras. 9, 11) statement is typical: “Elsa. . . [is a] flawed hero. . .aloof. And scared. Andover-protective. And insecure. And full of guilt. Because people—even animated people—arethe sum total of their personalities combined with their experiences.” Elsa has stolen theshow because we can identify with her pain. She is flawed, as we are.Research has consistently revealed that humans have a strong negativity bias that looks forflaws and focuses on weaknesses. It has been documented repeatedly that bad is strongerthan good. Negative psychological phenomena are more quickly learned, manifest, andcreate stronger consequences than good psychological phenomena (Baumeister,Bratslavsky, Finkenauer, & Vohs, 2001). As emotions expert Rick Hanson put it, “Our mindsare Teflon for the positive, but Velcro for the negative” (Hanson, 2009, para. 5).This negativity bias is also evident within the discipline of psychology. When MartinSeligman inaugurated the positive psychology movement at the turn of the millennium, oneof the driving motives was to correct psychology’s obsession with the negative (Seligman,2003).One of the major correctives to the negativity bias came in the form of a worldwidemultimillion dollar research project designed to identify the psychological strengths andvirtues that lead to human flourishing. This research resulted in a book called CharacterStrengths and Virtues: A Handbook and Classification (Peterson & Seligman, 2004) thatidentified and described 24 trait-like psychological strengths celebrated ubiquitously acrossAnna, the Queen of Couragethe globe and throughout history. The recognition and utilization of these strengths hasbeen firmly linked to human flourishing (Seligman, Steen, Park, & Peterson, 2005) innumerous areas such as psychological well-being (e.g., Park, Peterson, & Seligman, 2004)and work engagement (e.g., Crabb, 2011). Spotting and using these qualities of characterin ourselves and others strongly contributes to what makes life worth living.We therefore do not deny that there is much that can be learned from the character of Elsa.People overcoming pain can teach us a great deal about how to cope in the face of adversity(Linley & Joseph, 2005) and one book offered over 1,000 popular film examples of principlecharacters with mental illness (Wedding & Niemiec, 2014). But we believe that with thisfilm, much more benefit can be gained by studying the character of Anna, not Elsa.One of the criteria used in the original compilation of psychological strengths was that theaverage person should be able to name people who embody humility, bravery, love or anyof the other strengths (Peterson & Seligman, 2004). Furthermore, research shows thatmuch of our learning comes from observing exemplars (Oman & Thoresen, 2003), and theseexemplars need not necessarily be living. Historical figures can act as exemplars, as canfictional characters in books and movies (Niemiec & Wedding, 2014).It is unfortunate that Elsa has overshadowed Anna in the hype surrounding the movieFrozen. A short survey of even a handful of the character strengths displayed by Anna in thefilm is enough to make us think again about whether we are failing to appreciate anexemplary character.First off, it seems that one of the most evident character strengths that Anna displaysthroughout the movie is love. From the earliest scene of joyfully building snowmen with hersister, to her unflagging attempt to reconnect with Elsa throughout their childhood, and herunflinching belief in the goodness of her older sister, Anna demonstrates the ability to giveand receive love. This capacity to care and remain open to what experts on love have called“positivity resonance” (Fredrickson, 2013) requires sharing loving moments with others.Anna remains open to the possibility of connection with Elsa in spite of rejection, whereasElsa seems to respond to the rejection of others at her coronation by giving up on thepossibility of loving or being loved and seeking solitude for the majority of the film.It is in the area of love, however, that Anna’s most evident weakness lies. Her quickly fallingin love with a visiting prince could in many ways be viewed as an underuse of prudence andsound judgment. But it could equally be interpreted as simply an inappropriate overuse ofher great strength of loving, as it is our highest strengths that are often most vulnerable tobeing brought forth so strongly that they negatively affect ourselves or others (Niemiec,2014). Anna falls in love too deeply and too quickly with a character who later turns out tobe untrustworthy. It is this episode that has earned her a reputation for childish naiveté, butit is no less childish or naïve than Elsa’s seemingly wholesale rejection of even the possibilityof love.Anna is also a courageous character. Courage, like love, is a psychologically complexstrength: It requires the ability to pursue a goal in spite of internal or external opposition(Peterson & Seligman, 2004). Robert Biswas-Diener (2012) views courage as consisting ofAnna Leads While Elsa Avoids(a) managing fear and (b) maintaining performance. It takes many forms: physical bravery,honesty, passion and persistence (all of which are strong in Anna); and it can be displayedpublically or privately (Pury, Kowalski, & Spearman, 2007).Elsa has been celebrated by adult critics as a paragon of the courage to be oneself in spiteof the consequences, that is, the courage of authenticity. But Anna is every bit ascourageous as Elsa, if not more so. She demonstrates absolute perseverance in pursuing arelationship with her sister in spite of the obstacles that Elsa throws in her path. Herphysical bravery is evident when, in the midst of Elsa’s magically generated snow storm,she races into the mountains by herself (at first) to find her sister and bring her home withlittle concern for her own safety. The personal bravery she musters in facing her ownloneliness over years of sitting outside Elsa’s closed bedroom door shouldn’t be ignored,even if condensed into a 3-min montage in the film. Whereas Elsa’s courage involves therejection of others, Anna somehow manages to be loving and courageous at the same time.When Elsa is crowned Queen of Arendelle, it is Anna who most clearly demonstrates thestrength of leadership. It is almost a cliché in management psychology to acknowledge thatthere is no agreed upon definition of leadership, but Anna clearly exemplifies many of thequalities noted in exceptional leaders. She keeps an eye on what she is trying to accomplishwhile also appreciating those who assist her toward the goal (even if they are a talkingsnowman, a sardonic reindeer and an ice-hauler), both qualities of what has been called“servant leadership” (Greenleaf, 1998). Likewise, she demonstrates fierce resolve, plus awillingness to learn; both are characteristics of leaders who make a difference (Collins,2001). Queen Elsa, on the other hand, broods alone in her ice fortress, leading no one,doing everything in her power to avoid not only her loved ones and her community but herown fears.Perhaps the greatest irony of the film is that the signature song “Let It Go” is delivered bythe one character who finds it most difficult to let things go, at least in terms of forgivingherself and others and letting the past go and moving on. Again it is Anna, not Elsa, whodemonstrates strength in the area of forgiveness. She not only forgives Elsa for the years ofneglect, but also persistently seeks reconciliation and repair of their relationship. Much ofthe good in the final scenes of the film, as Anna sacrifices herself for her sister, occursbecause of Anna’s commitment to their relationship. In this sense she demonstrates all theempathy, acceptance and commitment that characterize acts of forgiveness (Worthington &Scherer, 2004). With all the attention centered upon Elsa, it is easy to forget that Frozenonly has a happy ending because of Anna.Although Anna engages in serious and dramatic life-saving actions, she is also playful andlight-hearted as she teases her love interests (displaying the strength of humor), andhumble, coming across without a hint of braggadocio, always placing the interests of othersbefore her own. It is likely that a knowledgeable and observant viewer can detect all 24 ofthe character strengths in Anna.ConclusionReferencesAnna and Elsa have sometimes been presented as a complementary pair, the yin and yangof human experience. Indeed, there is a lot we can learn from both characters, both ofwhom change for the better over the course of the film. But if we are looking for anexemplar of the good life, of how to build a positive relationship, or how to put our characterstrengths into action, we would be better served to look to the less popular of the duo. Webelieve it is Anna’s perseverance, bravery, love, zest, leadership, and forgiveness that arethe true underlying ingredients of the film’s impact. These are the most substantive aspectsof the film, and ultimately the qualities that put the warmth into Frozen.Abraham, Y. (2014, May 25). Let me go. Please. The Boston Globe. Retrieved February 27,2015 from http://www.bostonglobe.com/metro/2014/05/24/let-please/Y08kKkym5hOdrq11MSompI/story.htmlBaumeister, R. F., Bratslavsky, E., Finkenauer, C., & Vohs, K. D. (2001). Bad is strongerthan good. Review of General Psychology, 5, 323–370. http://dx.doi.org/10.1037/1089-2680.5.4.323 PsycINFO →Biswas-Diener, R. (2012). The courage quotient: How science can make you braver. SanFrancisco, CA: Jossey-Bass.Box Office Mojo. (2013). Academy awards 2013. Retrieved February 27, 2015 fromhttp://www.boxofficemojo.com/oscar/chart/?view=allcategories&yr=2013&p=.htmBox Office Mojo. (n.d.). Frozen. Retrieved February 27, 2015 fromhttp://www.boxofficemojo.com/movies/?id=frozen2013.htmBoyer, P. (2002). Religion explained: The human instincts that fashion gods, spirits andancestors. London: Vintage.Byron, E., & Ziobro, P. (2014, November 4). Elsa dominates Anna in ‘Frozen’ merchandisesales: Soup, mouthwash, dolls and dresses; ‘Elsa has powers and she’s pretty’.Retrieved February 27, 2015 from http://www.wsj.com/articles/elsa-dominates-anna-in-frozen-merchandise-sales-1415131605Candy, L. (2014, June 18). The Disney film that’s stolen my children’s brains. The DailyMail. Retrieved from http://www.dailymail.co.uk/femail/article-2661929/LORRAINE-CANDY-The-Disney-film-thats-stolen-childrens-brains.htmlCollins, J. (2001). Level 5 leadership. The triumph of humility and fierce resolve. HarvardBusiness Review, 79, 66–76, 175.Crabb, S. (2011). The use of coaching principles to foster employee engagement. TheCoaching Psychologist, 7, 27–34. PsycINFO →D’Addario, D. (2014, December 3). The 15 most influential fictional characters of 2014.Time. Retrieved February 27, 2015 from http://time.com/3612615/influential-characters-2014/Dickens, D. (2013, December 3). Disney’s Frozen: Awful expectations vs. enchanting reality.Hitfix. Retrieved February 27, 2015 from http://www.hitfix.com/comedy/disneys-frozen-awful-expectations-vs-enchanting-realityDockterman, E. (2014, May 15). 7 ways Frozen has taken over your life. Time. RetrievedFebruary 27, 2015 from http://time.com/101114/7-ways-frozen-has-taken-over-your-life/Fredrickson, B. L. (2013). Love 2.0: How our supreme emotion affects everything we think,do, feel, and become. New York, NY: Hudson Street Press.Greenleaf, R. K. (1998). The power of servant leadership. San Francisco, CA: Berrett-Koehler.Hanson, R. (2009, November 18). Take in the good [Personal web site posting]. RetrievedFebruary 27, 2015 from http://www.rickhanson.net/take-in-the-good/itsMRich. (2014, May 1). US marines watch Frozen & sing let it go [Video file]. Retrievedfrom https://www.youtube.com/watch?v=cOPe9WqpOAcLinley, P. A., & Joseph, S. (2005). 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The character-driven person: how frozen's Anna, not Elsa, is an exemplar

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