In this article I will intend to explain why the ‘media effects’ model is not adequate for understanding how audiences engage with a cultural text like Frozen.
Frozen plays a role where it portraits how a princess should be in every sense and shape, it portraits the dream to be for the teenager audience. Rather simplistically, it defines the right from wrong including appearance, behaviour and language, it also plays a role such as setting guidelines for the young audience.
However, the message expressed by the producers shows exaggerated symbols such as appearance and behaviour in order to attract and maintain more consumers and maximize tickets sales (Bryant and Zillmann, 1993, p437).
Moreover, one could have interpreted the message as the media effect is encouraging teenagers to rebel against their parents, also one might argue that there some ideas about femininity. The media encode it and the audience decodes it. Furthermore, the other characters seem rather marketable based on their dresses and makeup, Olaf, for instance, is a great example of what sort of toy would be easily available for sales.
Based on the Frankfurt school’s view, there are conflicting messages on the movie, Adorno would probably work on removing all the amusing parts of the film, however, some points are worth taking seriously. The cultural Populism for instance, as the film could be used as a resource in order to bring awareness regarding disabilities to the young audience. In addition to that, the audience could relate themselves to the movie about sexuality where some could make reference to Elsa as a homosexual.
In contrast, as David Gauntlett explains, the social issue is faced backwards. Rather than analyse the final piece and base the critiques on the result, which in this case is the production of the film, one should look at the society as a whole and understand the issue from that. In another others words, the film is the very result of the society’s behaviour and such result is only produced as a consequence of consumer’s demand. The film should not be treated individually, apart from the society, however, it should be read and analysed as a whole within the society and its issues and reasons for such choices (2004, p144).
The semiotic struggle, in this case, is the is based on the character called Elsa who behaves in a rather less princess-like way, her less traditional behaviour brings up arguments by the audience on how the young viewer would interpret the character. Although the film was well received, in particular, the character Elsa, it also highlights that perhaps a new phase from the cartoon film industry had born. Consequently, it might have reshaped the way young viewers are expected to behave, or how the film industry is willing to accept change demanded by its audience.
Bibliography:
Bryant, J. and Zillmann, D. (1994). Media effects: advances in theory and research. New Jersey: Lawrence Erlbaum Associates Publishers.
Gauntlett, D. (2004). Moving experiences, 2nded. Bloomington: John Libbey.