The DOI matches its Crossref record; 32 of the 32 references it cites were found in a registry or an index.
Into the unknown [Amas Mu Vuordá]? Listening to Indigenous voices on the meanings of Disney’s Frozen 2 [Jikŋon 2]
Open accessAbstract
In 2019, Disney released the animated film Frozen 2 and included depictions of Indigenous Sámi peoples, landscapes, and lifeways. Communication scholars have critiqued relationships between Disney and Indigenous cultures. However, with Frozen 2 Sámi consultants initiated a new mode of collaboration with Disney to combat cultural appropriation, linguistic erasure, and misrepresentations. This resulted in almost unanimously positive media praise by Sámi individuals and communities in Scandinavia. By drawing upon an Indigenous listening methodology, we articulate ways Sámi communities discuss the degree to which Disney’s Frozen 2/Jikŋon 2 is a transformative agent (or not) in treatment of Indigenous communities in film.
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“Kvidal-Røvik and Cordes mention that a not insignificant amount of the criticism surrounding the film by indigenous audiences was actually aimed at Norwegian and Swedish media for not spotlighting the importance of the moment more (Kvidal-Røvik & Cordes, 2020, p. 26).”
From Indigenously doing disney: How the house of mouse portrays indigenous populations (2023) · cites this paper as Kvidal-Røvik & Cordes, 2020, p. 26
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“Kvidal-Røvik and Cordes highlight that the film did of course receive a certain amount of backlash for various reasons.”
From Indigenously doing disney: How the house of mouse portrays indigenous populations (2023) · cites this paper as Kvidal-Røvik & Cordes, 2020
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“This gesture was, according to Trine Kvidal-Røvik and Ashley Cordes, positively received and when the voice actresses who provided the Norwegian and Sámi voices for Elsa appeared on one of Norway's most prominent morning shows to promote the movie, Sámi voice actress Marianne Pentha pointed out that by giving the characters Sámi voices, it was showing Sámi audiences that they were seen (Kvidal-Rø”
From Indigenously doing disney: How the house of mouse portrays indigenous populations (2023) · cites this paper as Kvidal-Røvik & Cordes, 2020, p. 25
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“Others took issue with the fact that by dubbing the film into only Northern Sámi, Disney in one way gave that particular Sámi language a capitalist legitimacy and weight not given to any of the many languages within Sámi tribes not acknowledged at all with a dubbed version (Kvidal-Røvik & Cordes, 2020, p. 28).”
From Indigenously doing disney: How the house of mouse portrays indigenous populations (2023) · cites this paper as Kvidal-Røvik & Cordes, 2020, p. 28
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“Much like with Moana, the studio created a panel of experts, here named Verddet, to make sure that the depiction of the Sámi-inspired Northuldra was as accurate as possible (Kvidal-Røvik & Cordes, 2020, p. 24).”
From Indigenously doing disney: How the house of mouse portrays indigenous populations (2023) · cites this paper as Kvidal-Røvik & Cordes, 2020, p. 24
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“However, according to Kvidal-Røvik and Cordes, Frozen II saw over whelmingly positive reception from most members of Sámi communities, a result Disney failed to achieve with Moana.”
From Indigenously doing disney: How the house of mouse portrays indigenous populations (2023) · cites this paper as Kvidal-Røvik & Cordes, 2020, p. 19
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“Because while Moana “gave Hawaiian children a story that included characters who actually looked like them and even dubbed the film in Hawaiian (Olelo Hawaiʻi), they also culturally reproduced the islands as exotic vacation destinations and drew upon outdated and damaging gender stereotypes” (Kvidal-Røvik & Cordes, 2020, p. 19).”
From Indigenously doing disney: How the house of mouse portrays indigenous populations (2023) · cites this paper as Kvidal-Røvik & Cordes, 2020, p. 19
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“Yet, as Kvidal-Røvik and Cordes point out, the most critical voices were from outside the Sámi community, particularly from the United States.”
From Indigenously doing disney: How the house of mouse portrays indigenous populations (2023) · cites this paper as Kvidal-Røvik & Cordes, 2020
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Citations
Cites
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Flagged first, then by citations
Research works printed but not linked: 3
- Benediktsson, K. (2008). Moving places: The emotional politics of nature. In J. O. Bærenholdt & B. Granås (Eds.), Mobility and place: Enacting Northern European periperies (pp. 205–218). Ashgate.
- Onsøien, O. G. (2020, January 8). Disney ga oss den ikke [Disney did not give it to us]. Finnmark Dagblad, 24–25.
- Ramnarine, T. K. (2015). Frozen through Nordic frames. Puls: Swedish Journal of Ethnomusicology and Ethnochoreology, 1, 13–31.
Cited by
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Indigenously doing disney: How the house of mouse portrays indigenous populations
Kim, S., & Gregory, C. J. (2023) · INContext Studies in Translation and Interculturalism · doi:10.54754/incontext.v3i2.68 · Cited by 1
Metadata
- Authors
- Kvidal-Røvik, T., & Cordes, A.
- Affiliations
- UiT The Arctic University of Norway (NO)
- University of Utah (US)
- Corresponding author
- Kvidal-Røvik, Trine
- Venue
- Journal of International and Intercultural Communication
- Publisher
- Informa UK Limited
- Published
- 2020-12-02
- Volume
- 15
- Issue
- 1
- Pages
- 17-35
- ISSN
- 1751-3057 (ISSN-L)
- 1751-3065
- OpenAlex
- W3109863050
- Cited by
- 12
- References
- 32
- Citations by year
- 2026: 1 · 2025: 2 · 2024: 4 · 2023: 2 · 2022: 2 · 2021: 1
- FWCI
- 6.90
- Type
- journal article
- Language
- en
- Open access
- hybrid
- doi.org
- Licence
- Locations
- Journal of International and Intercultural Communication (publishedVersion, cc-by-nc-nd)
- NORA - Norwegian Open Research Archives (submittedVersion, cc-by)
- Topics
- Social Sciences › Cultural Studies › Cultural Identity and Representation
- Social Sciences › Arts and Humanities › Visual Arts and Performing Arts › Cinema and Media Studies
- Social Sciences › Cultural Studies › Indigenous Studies in Latin America
- Keywords
- Frozen 2, Sami people, Indigenous representation in film, Disney, indigenous consultation, cultural appropriation, animated film, Sami communities
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