TY - THES ID - 135810935 TI - Muziek en Narrativiteit in Filmsequels : Case Study: Iron Man 2 & The Whole Ten Yards. AU - Eerdekens, Nele AU - Van Parys, Thomas AU - KU Leuven. Faculteit Letteren. Opleiding Master in de culturele studies PY - 2014 PB - Leuven : K.U. Leuven. Faculteit Letteren DB - UniCat UR - https://www.unicat.be/uniCat?func=search&query=sysid:135810935 AB - This thesis researches the use of narrative functions of music in film. More specifically, the focus lies upon music in film sequels as this seems to be an oddly neglected area in film music studies. First of all, this paper will offer an overview on the theoretical debate surrounding the narrativity of music (cf. Gorbman). It will also give a broader, more recent view upon narrativity in music and transgressions between diegetic and non-diegetic music (cf. Heldt). Secondly, the thesis formulates a typology of music in sequels. Next to the distinction between genres, the following questions remain central: what are the main characteristics of music of film sequels? How is it used? What is the role of the composer? Although there are exceptions, it will become clear that music in sequels is mostly handled in a way that the original score stays recognizable, but at the same time the music grows apart from it. In other words: the music becomes more and more independent but its core is still based on the original score. However, there was a trend among composers in which they almost completely neglegted their predecessors (most notably Desplat and Doyle for their work in the Harry Potter-franchise and Zimmer's score for Man of Steel). At the end of the typology, the connection between the music in sequels and the narrative of the storylines will be made.The case study offers a practical application of the discussed narrative functions in the first chapter. Because a lot of these techniques are used at a local level, the first part of the case study focuses primarily on the films themselves. The connection with the sequel level will be made later on. Although it will become clear that the chosen movies (respectively The Whole Ten Yards (2004) and Iron Man 2 (2010)) are exceptions on the general use of music in movie sequels in Hollywood, the analysis gave an illustration of the self-conscious way in which sequels (and movies in general) use the narrative strategies th... ER -