(2.5 points) True (T) or False (F)
1.  T The cartoon Frozen was released in Japan under a different title.
2.  T Frozen made more money than any 3D movie ever shown in Japan.
See article: “It blew past Avatar in early May to become the most successful 3D film in Japan ever.” (¶2)

3.  F In Japan, Frozen appealed only to children.
4.  F Like in Japan, the market strategy used to release Frozen in Europe was to emphasize girl-power themes.
See article:

• “Disney marketed Frozen in the US and Europe by playing up Olaf the Snowman—and omitting the whole musical thing—likely in a bid to appeal to boys, knowing that girls would see it regardless.” (¶8)
• “Unlike in the United States and other nations, we deviated from the strategy of catering to families and specifically targeted Japanese women,” Ihara told the Japan Times, “who have the power to spur consumption and create a fad.” (¶10)

5.  F The writer mentions a recent Japanese political incident to show that Japanese men have learned an important lesson from Frozen.

6.  (0.5 point) The writer mentions the princess in Beauty and the Beast in order to show that she is similar to/different from Elsa in Frozen. (Circle the answer)

7.  (1 point) What does “the show-stopping number” refer to in the article?
The movie's main song “Let It Go.”    
See article: “the show-stopping number ‘Let It Go’” (¶6)


8.   (1 point) The writer gives several possible reasons for Frozen’s phenomenal success in Japan. Name one.
Its memorable songs. / Its story which is complex and interesting enough to appeal to both adults and children. / Marketing it by promoting its girl-power themes. / Its two leading female characters are not portrayed like the usual Disney princess types. / Choosing two Japanese star singers to voice Elsa and Anna.
See article:

• “the music catchy” (¶3)
• “the story is morally nuanced enough that adults seem to enjoy it as well as children” (¶3)
• “revolves around the relationship between strong, commanding female characters who defy the “Disney princess’ stereotype” (¶3)
• “highlighting the girl-power themes in its promotions, says Tami Ihara, head marketing director at Disney (Japan). ‘Unlike in the United States and other nations, we deviated from the strategy of catering to families and specifically targeted Japanese women,’ Ihara told the Japan Times, ‘who have the power to spur consumption and create a fad.’” (¶10)
• “Disney’s choice of Japanese starlets Takako Matsu and Sayaka Kanda to play Elsa and Anna, respectively, in the Japanese dubbed versions was a masterstroke. Praise seems pretty universal: Japanese women love Takako and Sayaka’s voices. Even among women who didn’t like or bother to see Frozen, the songs sung by both women are huge hits, dominating karaoke playlists.” (¶16)
• It may well be that Matsu’s mezzo is the main driver of Frozen’s $235.8 million in ticket sales, and not newly empowered females. It’s hard to tell. (¶17)