We composed this picture deliberately on Halloween 2014.
When I first looked at the photo, I didn’t see an argument; I’m still not sure if there was any particular argument intended when the photo was first composed. I’ll also admit that I’m unsure of which characters you and the girl are portraying, which limits my view of any intended argument. However, given the photo’s framing in the blog post as a visual argument, I’ve tried reading it as such, and I came up with something… sort of.
Frozen was/is praised as one of the first/only feminist films in Disney’s animated canon – or, rather, one of the first/only to proudly wear feminism on its sleeve and not relegate it to subtext. You and the girl in the photo mimic the stances of the cardboard cutouts of Elsa and Anna. Even as one with great respect for (a good chunk of) Disney’s animated canon, few Disney films provide the opportunity to enact the identities of women and girls without having to enact a villainous or “bad” role in some way, while Frozen offers more complexity in that regard, at least as far as Elsa is concerned. On a wider scale, films that feature more than one woman lead rarely do so without framing at least one woman as “bad” in some way.
So, I guess the argument I’m seeing is, there’s a strong familial bond between you and the girl in the photo, like the strong familial bond of Elsa and Anna at the conclusion of Frozen.
On a related note, I’m surprised that this photo wasn’t taken… in summer.
Go girl! There is a lot here. Your pose alongside the Frozen cutout creates a juxtaposition argument. One the “frozen” side, there are two sisters, in feminine, old-swedish attire; on the other, there is a mother and a daugther in matching black cat suits. Girl power abounds!
The image is an interesting juxtaposition of the images of Elsa and Anna from the film Frozen and the posed bodies of Maury Brown and her daughter in costumes that are decidedly less obviously feminine. Elsa and Anna, the heroines of a Disney film aimed primarily at a young female audience, embody traditional notions of femininity. Maury and her daughter are dressed in costumes that more closely resemble those of female action heroes from comics, television series, and films aimed at a primarily male audience. I think that the central argument could be that young girls can be and are drawn to works that are aimed primarily at a masculine audience and characters that are less representative of traditional gender roles (and girls can be warriors too).
There’s a lot going on here! I think the overall argument is that the popular notion of “feminine” should be redefined. The pose of the Frozen cutouts is paralleled, immediately inviting the audience to compare between the two sets (a good example of Gestalt’s principle of proximity!). The Frozen characters are hyper-feminized: they are wearing dresses, their hair is styled ornately, they are draped with bright colors. You and the girl are in pants, with natural hair, and decked out in all-black. The most striking difference is that the Frozen characters are cartoons, compared to living, breathing human women. There is a disconnect between the hyper-feminized women that pop culture creates and real life dynamic women.
At the risk of being cliche, I think you are letting go of the gendered clothing norms Anna and Elsa seem to portray in the poster. Like the sisters, although you are wearing similar clothing your own styles shine through, hence making the argument about individuality even in similarity.
This is both visually simple in that the elements aren’t abundant, but as can be seen through your peer’s readings, also potentially rich in possibility — resisting gender norms, commenting upon popular culture roles, etc.
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