The origin of Elsa's anxiety disorder

THE ORIGIN OF ELSA'S ANXIETY DISORDER

Chapter 1

1.1

Elsa is one of the most complex characters Disney has ever created. It is difficult to imagine her as being even loosely related to Andersen's The Snow Queen, an antagonist figure, who originally inspired the character. The only similarity between the two characters lies in their association with ice, but beyond that, particularly in terms of personality, they have nothing in common.

Originally, Elsa was conceived as the antagonist of the story. However, as the narrative developed, it became evident that she could not be portrayed solely as a villain. Her poor decisions are a direct result of the extraordinary difficulties she faces (Jennifer Lee). The characters in Frozen were designed with nuanced, realistic personalities, where emotions significantly influence every decision. There are no clear distinctions between absolute good and evil, which adds depth to the story.

The evolution of Elsa’s concept design mirrors the shift in her role. Talented artists contributed to bringing this multifaceted character to life, including Jin Kim, whom co-director Chris Buck described as possessing unmatched artistic skill. Other key contributors to Elsa’s design include Bill Schwab, Claire Keane, Brittney Lee, Victoria Ying, Doug Walker, Jean Gillmore, and Michael Giaimo. Story artist Chris Williams shared, “I love Elsa because we can depict her as cold and distant, yet audiences still empathize with her. We understand she is living in a self-imposed prison that she cannot share with anyone. The themes connected to the fear of revealing who you truly are are deeply moving.”

Art director Michael Giaimo described the visual essence of the film with the word panache, which can be translated to mean "flair" or "elegance." This description applies perfectly to Elsa’s character design.Elsa exudes elegance in every detail of her appearance, from her form-fitting gown with a side slit to her ethereal ice cloak, which is imbued with magic yet remains believable. Her striking hairstyle, resembling tongues of fire, adds further complexity and visual impact.

Elsa conveys a powerful message simply through her existence. She represents the challenges faced by the simulation team, who brought her to life with designs that balanced graceful, striking forms with technical demands, such as ensuring fluid motion. These designs also had to capture the emotional depth of her performance. Elsa has been described as a "walking special effect" due to her costume design, which reflects and refracts light like an ice crystal. Her ice-blue cloak, delicate lilac choker, and dress in a warmer shade of blue come together as a masterpiece of color, texture, and design (Michael Giaimo).

Joy Johnson, the character technical director, noted that rigging Elsa, as well as Anna, was particularly challenging. Both characters are heroines and sisters, and while they share a natural appeal, each required individualized adjustments to ensure that their unique personalities and traits were highlighted effectively.

It is clear that creating Elsa demanded extraordinary effort from the film’s artistic team, posing challenges not only on a technical level but also in terms of narrative complexity.¹

¹ The Art of Frozen, di Charles Solomon. 2013; preface by John Lasseter; foreword by Chris Buck and Jennifer Lee, Chronicle Books LLC 680 Second Street SanFrancisco, California 94107

1.2

I had already mentioned at the beginning of the chapter that the future queen of Arendelle was not originally conceived as a positive character but rather as an antagonist. Although Elsa later emerged as more of a misunderstood figure, let us examine the traits that, at first glance, made her closer to the idea of a villain rather than a princess.

First and foremost, Elsa suffers from a psychological disorder, as openly stated by co-director Jennifer Lee: "It was definitely intentional to show anxiety and depression. Not necessarily for HCA, more for the story, but yes. Warm hugs to you." (Twitter, 2014).

The representation of mental health in Disney animated films is not new, but what is entirely new is the way the disorder is presented and addressed, both by the person experiencing it and by those around them. According to the study conducted by Andrea Lawson and Gregory Fouts, "Mental Illness in Disney Animated Films" approximately 85% of Disney animated films contain references to mental health and psychiatric disorders in general. However, characters who visibly suffer from these conditions are often labeled as "crazy" or "insane," subjected to ridicule, or worse, feared².

Therefore, although mental health is not an entirely new theme in princess films, this is the first time a princess experiences it firsthand. It is the other positive characters who cast Elsa in the role of an antagonist.

During the scene in which the parents take the young girls to the Trolls in an attempt to heal Anna, the first question asked is whether Elsa was born this way or was the victim of a curse. The child’s powers and her uniqueness are thus judged on an entirely different level from how we are accustomed to seeing magic treated in fairy tales. Magic, as a quality of Disney protagonists, has always been depicted as something beautiful. It has always been an added trait that enhances the inherently positive nature of the characters.

We are used to considering magic as a "curse" as something negative, only when it is associated with antagonists, with wicked witches. And that is precisely how Elsa is introduced to us. The Trolls are presented as the wise figures of the village, and their fearful and concerned attitude leads us to believe that the future queen of Arendelle is dangerous and that such fears are justified. This is exactly what Elsa herself thinks in that very moment.

Not just this, but Elsa is the "enemy" of love. In Disney films, characters who try to obstruct the "happily ever after" of princesses are typically antagonists. And Elsa is entirely opposed to her sister’s impulsive marriage to Hans, an engagement that had already sparked emotion and hope among the audience, eager to see Anna finally break free from years of solitude and abandonment.

While such an attitude may seem entirely normal in a real world, within the Disney universe, it is unprecedented. This marks a departure from the idea of "love at first sight" that fairy tales have traditionally promoted, an idea that is utterly unrealistic (consider Cinderella, Sleeping Beauty, Snow White…)³. Elsa is the Queen of Arendelle, yet she has no relationship with her subjects. She repeatedly expresses a sense of not belonging to the community and, more importantly, does not seem to want to be part of it. Unlike Quasimodo in The Hunchback of Notre Dame or Rapunzel, who, like Elsa, were excluded from society, the Queen of Arendelle does not display any desire to be accepted. Furthermore, there is no character preventing adult Elsa from integrating into the community or being accepted. In Disney’s world, characters who are not well received or properly integrated into society have always been, without a doubt, villains⁴.

However, these traits, which might make Elsa appear as an antagonist within the Disney framework, differ greatly from how she would be perceived in the real world. She is human. Despite being a queen, she is not infallible. Despite having magical powers, she neither feels nor is considered special.

Frozen marks the beginning of a new chapter in the world of Disney princesses. This is a world in which the emotional spectrum is greatly expanded and a state of "non-eternal happiness" is normalized without automatically labeling characters as "antagonists".

We are used to seeing emotions and reactions depicted in a simple, straightforward manner on screen. If a character argues with a friend and then appears sad, it is expected, but they will not remain sad for long. Disney characters often push aside negative emotions with ease to focus on achieving their goal, only for those emotions to resurface at the very moment of resolution.

It is almost a visual representation of the phrase "Just don’t think about it."

Cause-and-effect dynamics in family films are deliberately clear to make them accessible to younger audiences. However, this can be misleading when it comes to the way human emotions are portrayed and understood.

In this regard, one aspect that Frozen handles masterfully is time. The timeframes that shape the growth and development of the characters are strikingly realistic.

²,³,⁴ The quirky princess and the ice-olated queen / by Juniper Patel (2015) University of Arkansas, Fayetteville

1.3

In the opening scenes of the film, we are immediately presented with the triggering event that initiates the great change in the lives of all the castle’s inhabitants. Anna approaches Elsa’s bed and asks her to play together ("Do you want to build a snowman?").

It is important to note how, at this moment, Elsa’s uniqueness is seen as a special trait. In fact, it brings the two sisters together during their playtime. Not only that, but Elsa feels completely comfortable with her powers, she controls them without fear, and she enjoys them. At a certain point, while playing, Anna is accidentally struck, and Elsa, alarmed, calls for their parents. The floor instantly freezes. This is what I call "the ice of panic."

Ice is an extremely important element. It is the way Elsa expresses her emotions, sometimes more impulsively than others. The ice she creates is very different from natural ice, but this is a technical aspect that we will explore later, as its central role in this film makes it more than worthy of attention. For now, what I want to emphasize is how every decision made in the film, particularly in the construction of the characters from every perspective, was executed with extreme precision to carry deep meaning on a narrative, cinematic, and psychological level.

There is, in fact, an isomorphism between Elsa’s powers and her personality. We know that she is able to create ice and that this ability starts to spiral out of control from this very scene. Emotionally, Elsa becomes "frozen," stuck in this childhood stage, unable to properly develop or navigate the mechanisms of giving and receiving love. Convinced that she is unworthy of understanding and affection, she automatically becomes incapable of accepting it and, consequently, of giving it to others.

When the adults step into the room, the first words spoken are: "Elsa, what have you done? You can’t control it anymore!" These words come from her father. The way they are said suggests that this is not the first time Elsa’s powers have been a source of concern for the rulers of Arendelle.

This immediately introduces one of the most important themes in Elsa’s character development: control.

The family then decides to seek help from the wisest figures in the kingdom, the Trolls.

The Trolls in Frozen are not frightening, as we are used to seeing them in other films or imagining them in fairy tales. They have a reassuring appearance, are small in stature, and move as a large group that is presented to us as one big family, which creates strong empathy in the audience. They possess the ability to read into the hearts of characters. The Trolls were introduced late in production, meaning their design did not have the same time or trial and error process as other characters and had to be finalized from the outset. Everything about these small creatures is inspired by nature. The main pattern that became a defining feature of theirs was inspired by the spirals of lichens. Their cloaks are made of moss, with decorative additions of mushrooms⁵.

This scene is extremely important for the analysis I am conducting, as it marks the beginning and the foundation of what Elsa will later develop into an anxiety disorder.

As I mentioned earlier, the Trolls, who are presented to us as wise figures, express fear regarding Elsa’s powers. This is why Elsa herself begins to feel fear in return. When the Trolls ask whether Elsa was born this way, the answer is obviously yes. Her ice is part of her nature and her very being. It is not something that can be separated from her, nor can she blame anyone else for the way she is.

The child is told that within her powers there is both beauty and danger and that she must absolutely learn to control them. To conclude, they add that "fear will be her enemy."

The Trolls and Elsa’s parents decide to remove all of Anna’s memories of magic, emphasizing that it is "for her own good." It is easy to understand how, for Elsa, this translates to the belief that she and her very nature are not good for Anna and are a source of danger.

The pressure placed on Elsa in this scene is far too much for a child of her age. Additionally, this sequence provides the audience with very important information for the interpretation we are interested in. Fear will be the child’s greatest enemy.

Further pressure is added by Elsa’s father, who reassures the Trolls by saying that Elsa will surely learn to control herself. She is given no room for mistakes.

⁵ The Art of Frozen, di Charles Solomon. 2013; preface by John Lasseter; foreword by Chris Buck and Jennifer Lee, Chronicle Books LLC 680 Second Street SanFrancisco, California 94107

1.4

Several times I praised Frozen and Frozen II for their meticulous realism, particularly from a scientific and psychological perspective. The primary objective of this thesis is to demonstrate how no detail is out of place, starting with the central theme that laid the foundation for this study: the development and representation of psychopathological disorders. Below are some fundamental concepts.

Elsa is about eight or nine years old when the accident occurs. This is the age during which the prefrontal lobes develop, and there is no regulation of emotions. Therefore, speaking about control with a child, especially asking them to control and repress their emotions and feelings, is a complete paradox. Anxiety disorder is a condition that can be considered acquired, and parents play a crucial role in its development. A well-known example is that of young children who, while playing, might run and fall to the ground. The first thing they do is look at their parent to see their reaction because the parent is their reference point, the instrument for measuring danger. If the parent does not appear too concerned, the child perceives the event as normal, and this information is stored in what we might call their internal database.

If, on the other hand, the parent appears frightened and starts yelling, the child will suddenly begin to cry. These experiences are essential in shaping how a child learns to judge and react appropriately to future situations.

As a result, the child of an anxious parent will be much more cautious while playing or may even refuse to play for fear of falling. In contrast, the child of a parent who remained calm will behave differently. Now, think about what happened in the grand hall of Arendelle’s castle. Elsa makes a mistake, but she is completely unable to grasp how serious it is. She calls the adults to gain more information. The father’s alarmed and accusatory reaction sends very specific signals to the child’s brain. She internalizes these messages as absolute truths because that is what children do with their parents. As mentioned before, these early experiences become crucial in determining how she will react to any future situation. To be more precise, Elsa develops an anxiety disorder can be classified as social phobia with panic disorder.

One of the first theories that caught my attention suggests that the foundations of an individual's mental health are built during childhood. Some even argue that the first weeks or months of life play a significant role. From the very beginning, a child is described as an evolving organism, possessing a vital spark, which is defined as an intrinsic drive toward life and growth that never leaves them and does not need to be understood. Furthermore, childhood appears to be a particularly delicate phase because children’s emotions are extremely direct and intense. Unlike adults, who have already learned to protect themselves, young children find themselves vulnerable and overwhelmed by unbearable emotions.

Winnicott provides the example of grief. Adults facing the loss of a loved one allow themselves a mourning period, expect others to respect this space, and assume that their well-being will eventually be restored. Children, on the other hand, completely surrender to negative emotions and pain at any time of the day or night. If not allowed to expressed their emotions safely and treated with a dismissive attitude, as they grow, in an attempt to shield themselves from such suffering, many struggle to take situations as seriously as they would like. They refuse to experience particularly intense emotions because they are afraid of them. Unable to accept the inherent risks of loving someone or something, they distribute these risks by protecting themselves from pain and, ultimately, from love⁶. This is precisely what, as I mentioned at the beginning of this section, happens to young Elsa, and it is something we will see develop in her adolescent and adult years.

In particular, we will focus on a similar situation following the death of both her parents, which we will analyze later⁷.

⁶ The Child, the Family, and the Outside World by Donald W. Winnicott (1964) / by The Estate of D. W. Winnicott (1957). Edizioni Scientifiche Ma. Gi. srl, Rome 00198
⁷ to support this thesis from a psychological perspective, however, given that I am not a psychologist, I had to rely on specialized textbooks and, most importantly, on experts in the field, such as Dr. Chiara Di Marzio, co-supervisor of this thesis.

One of the books that contributed to the development of my analysis was The Child, the Family, and the Outside World by Donald W. Winnicott. Although this book provided me with important insights and concepts to reach my conclusions, I feel compelled to highlight certain ideas that, from a social perspective, are now widely considered outdated. Since the book was originally written in the late 1950s, these ideas must be understood within their historical context. However, this does not diminish the book’s overall value or significance.

1.5

The scene featuring the Trolls' warnings marks a turning point in the life of the royal family of Arendelle. Immediately after that moment, significant changes take place. Elsa’s bed is moved from Anna’s room to a different one, leaving Anna alone in the small bedroom they had always shared, a space filled with happiness and sisterly love for years. Elsa, on the other hand, is the one who must leave. Symbolically, she is torn away from the joyful and familiar childhood environment she was used to and is thrust into a completely different reality. She is alone, supposedly for the good of everyone. This reinforces Elsa’s perception of herself as a danger to her sister, despite Anna knocking on her door every day.

The song Do You Want to Build a Snowman? guides us through the sisters’ growth. In this chapter, we will focus exclusively on Elsa. The scenes depicting her are particularly moving and realistic. The first time she accidentally freezes the window, she is told to wear gloves.

It is important to focus on the fact that Elsa creates ice using her hands, as this is not a random detail. Children use their hands as a tool to explore the world, and touch becomes the primary sense for acquiring information. It serves as a bridge between their inner self and the outside world. When Elsa is made aware that her hands are potential weapons of destruction, the metaphor becomes even clearer. Her powers symbolize aspects of her personality that are forcibly suppressed, or at least that is what her parents hope. Of course, it is impossible to erase parts of a young child’s personality, let alone through repression, but this fact seems to completely escape her parents. That scene is also the first time Elsa is visibly afraid of her own ice. Before visiting the Trolls, she showed no signs of struggling to control her magic, nor was she afraid of freezing anything. The thought of being unable to control it had never even crossed her mind. Suddenly, she is terrified of what her own hands can do. Her fear of losing control quickly escalates into a deep-rooted fear that she is, or will become, a danger to others. This naturally leads to the development of an anxiety disorder, which we see grow and solidify throughout these scenes. It is important to emphasize that there is absolutely nothing wrong with Elsa herself. What is truly disturbing is the way her differences are perceived, feared, and suppressed by the very people who should have protected and loved her the most, her parents. Elsa’s father repeatedly insists that she must conceal herself and feel nothing, drilling it into her like a mantra. Conceal it, do not let it show. This is one of the clearest representations of emotional repression in children.

Like all children, Elsa trusts the judgment of the adults around her without question. In the end, she believes them. She convinces herself that their words are true. She is a monster, she is wrong, she is dangerous, and she must hide for the sake of those around her. Elsa’s fear intensifies, and with it, so do her panic episodes. In one scene, we see her in her room with her parents, looking around in terror after having completely frozen a corner of the room. This is one of the most realistic portrayals of anxiety in Elsa’s story. The child is frightened, her eyes dart frantically, and her hands tremble, yet there is no visible threat. There is no monster standing before her. What Elsa is facing is an invisible enemy, one that resides within her. It is something only she can perceive, which further intensifies her feelings of isolation and exclusion because she knows that no one in the world can help or save her from this.

Elsa’s condition makes her unlike any other Disney princess ever created. It is not just the disorder itself that sets her apart, but the fact that her disorder makes her impossible to save. If we look at the more recent Disney princesses, Rapunzel, Merida, Tiana, and Moana, we see strong, ambitious women who are sure of what they want. However, they are still accompanied and supported in their journeys to overcome their internal struggles. Rapunzel has Flynn, Merida has her family, Tiana has her friend, and Moana has the demigod.

Elsa, however, is in a completely different situation, both in terms of personality and attitude. We would never describe her as an ambitious dreamer or as someone who seeks to break free from family traditions. She unquestioningly accepts what her family imposes on her. She has not dreamed in a long time and is completely resigned to her fate. her only thought every morning was hoping to make it through the day without losing control.

In this state, Elsa cannot be saved or helped by anyone. While it is true that Anna saves her life not once but twice, this has nothing to do with her internal struggle. Elsa’s personal journey is one she must face entirely on her own, which she does in both films with remarkable realism. There is no doubt that she is also the most courageous princess ever imagined.

Returning to the scene that portrays one of Elsa’s most powerful reactions to her own powers, we see her scream that her magic is getting stronger. The animators masterfully capture the moment, showing how her mind is clouded and confused. She feels completely out of control, with no way out. Her father urges her to calm down, warning her that otherwise it will only get worse. But Elsa is no longer even listening. She begs them to stay away, convinced that she is only a danger to them. Her parents do not contradict her, which only strengthens her belief that she truly is dangerous. The silence between them in this scene lasts only a few seconds, but it is heavy with meaning. It is a silent agreement that condemns Elsa to watching her condition worsen and feeling powerless against it.

By the time Elsa reaches adolescence, her parents decide to embark on what will be their final journey. We see her standing before them, visibly worried about their impending departure. Despite the fact that they were the ones who created this situation in the first place, Elsa is unaware of this. To her, they are her only safe haven. Her parents are the only ones in the castle who know about her powers and understand their magnitude. They are the only ones who share her rigid mindset and understand her need to hide from everyone. Using the words "share" and "understand" may lead some readers to believe I am describing a supportive and welcoming family environment. However, I am merely translating what Elsa, in her narrow and adolescent perspective, believes to be true. She fully accepts the idea that she could lose control and cause a catastrophic chain of events. She truly believes that the only way to protect those she loves and her kingdom is to remain hidden. Because of this, she does not see her parents' actions as unjust but rather as compassionate and understanding.

In this sense, she reminds me of Quasimodo in The Hunchback of Notre Dame. While it is important to remember that Frollo was not acting in Quasimodo’s best interest, whereas Elsa and Anna’s parents genuinely believed they were doing what was best for their daughters, both Elsa and Quasimodo live with the same conviction. They believe they are wrong, that they are frightening, and that they should feel guilty for simply existing. Quasimodo steps outside encouraged by the gargoyles, whom he fully trusts, but he would have never taken such a risk on his own. The key difference between him (together with Rapunzel) and Elsa, is their expressed desire to experience life among others. Unlike Quasimodo, Elsa does not long to be with people. She does not yearn for adventure. She does not secretly dream of freedom. She simply accepts her fate.

The rulers of Arendelle are therefore Elsa’s only safe refuge when she fears losing control. Without them around, she is deprived of the only lifeline she thought she had. This is why she is so afraid of letting them go. Even a single day or hour without them feels like an eternity in the grip of her painful and debilitating emotions.

If you are curious, feel free to explore the bibliography and webography that contributed to the creation of this thesis.

Bibliography

The Art of Frozen, di Charles Solomon. 2013; preface by John Lasseter; foreword by Chris Buck and Jennifer Lee, Chronicle Books LLC 680 Second Street SanFrancisco, California 94107
The Art of Frozen Il, di Jessica Julius. 2019; foreword by Chris Buck and Jennifer Lee & Peter Del Vecho, Chronicle Books LLC 680 Second Street San Francisco California 94107
Disney's Female Gender Roles: The Change of Modern Culture. Tesi di McKenzie Barber, 2015, Indiana State University
The quirky princess and the ice-olated queen: an analysis of Disney's Frozen. Tesi di Juniper Patel, 2015, University of Arkansans
From Snow White to Frozen: an evaluation of popular gender representation indicators applied to Disney's princess films. Tesi di Johan Nyh, 2015, Karlstads
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2 Department of Sociology, McDaniel College, 2 College Hill, Westminster, MD
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Analysis of requesting speech act in the movie Frozen by Walt Disney. Tesi di
Karana Lintang Cahya. 2016. Sanata Dharma University-
The Disney Evolution: Princesses as Positive Role Models. Tesi di Alexandria Irene Lueke. 2014. University of Dayton
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Webography

What Frozen can teach us about supporting people with mental illness, di Lieryn Bernett 2019, The Mighty
https://themighty.com/2019/05/frozen-movie-mental-illness-support/
The Dark Backstory Behind Elsa's Prison Cell, by Joshubuh, 2018,
DisneyTheory.com
https://disneytheory.com/2018/02/25/the-dark-backstory-behind-elsas-prison/#:~:text=Elsa%20built%20the%20prison%20for%20herself&text=Elsa's%20entire%20narrative%20is%20fear,she%20might%20inflict%20on%20others.&textThis%20is%20why%20Elsa%20doesn,use%20he%20powers%20to%20escape.
Frozen's Elsa Is a Disney Queen for Anxious Girls, by Jenny Singer 2019
https://www.glamour.com/story/frozen-elsa-is-a-disney-queen-for-anxious-girls
Reasons why Elsa's storyline in Frozen is the perfect metaphor for mental illness, di Aurelia Autumn 2016, The Mighty
https://themighty.com/2016/12/elsa-frozen-just-like-people-with-mental-illness/
How to Leave Your Comfort Zone and Enter Your 'Growth Zone, di Oliver Page, 2020, PositivePsychology https://positivepsychology.com/comfort-zone/
Is Frozen's "Monster" Too Dark for Kids?, di Selah Poore, 2018, OnStage Blog https://www.onstageblog.com/editorials/2019/1/6/is-frozens-monster-too-dark-for-kids
Carl Gustay Jung, il padre della psicologia analitica - Introduzione alla Psicologia, di Francesca Fiore, State of Mind
https://www.stateofmind.it/2018/01/carl-gustav-jung/
'Frozen 2'; What Awaits Olaf in the Enchanted Forest?, di Fred Topel, Showbiz
Cheatsheet https://www.cheatsheet.com/entertainment/frozen-2-what-awaits-olaf-in-the-enchanted-forest.html/

Filmography

Frozen - Il Regno di Ghiaccio, 2013, Walt Disney Animation Studios
Frozen II - Il segreto di Arendelle, 2019. Walt Disney Animation Studios
Frozen Il - Behind the scenes, 2020, Walt Disney Animation Studios

Illustrations'credits

Bill Perkins, Bill Schwab, Brittney Lee, Claire Keane, Cory Loftis, David Womersley, Hyun Min Lee, James Finch, Jim Kim, John Ripa, Lisa Keene, Mac George, Michael Giaimo, Mikyu Lee, Annette Marnat, Griselda Sastrawinata-Lemay, James Woods, Justin Cream, Lisa Keene Sylvia Lee