Introduction
The role of music in film has long been a subject of academic scrutiny, with scholars like Claudia Gorbman and Kathryn Kalinak providing foundational insights into its narrative and emotional functions. Gorbman’s analysis of the Classical Hollywood Film Score highlights principles such as invisibility and emotional cueing, while Kalinak offers a broader perspective on how music shapes audience perception and storytelling. Against this theoretical backdrop, the video essay The Marvel Symphonic Universe by Every Frame a Painting critiques the music in the Marvel Cinematic Universe (MCU) between 2008 and 2016, arguing that it lacks memorability and distinctiveness. This essay evaluates the validity of these criticisms through the prism of Gorbman’s and Kalinak’s theories, contending that while the critiques hold merit in terms of thematic consistency and memorability, they do not fully account for the functional effectiveness of MCU scores in supporting narrative cohesion. Drawing on these frameworks, along with supplementary insights from Emmet Asher-Perrin’s discussion of continuity, this analysis aims to provide a balanced assessment of the MCU’s musical landscape.
The Criticisms of MCU Music in *The Marvel Symphonic Universe*
The video essay The Marvel Symphonic Universe presents several pointed criticisms of the MCU’s film scores during its early phases (2008–2016). Primarily, it argues that the music lacks memorable themes, failing to create distinct auditory identities for characters or overarching narratives (Every Frame a Painting, 2016). The essay contrasts MCU scores with iconic soundtracks from franchises like Star Wars or Harry Potter, which boast instantly recognizable leitmotifs. Additionally, it critiques the overuse of temp tracks—pre-existing pieces used as placeholders during editing—that often lead to final scores which feel generic and uninspired. The critique suggests that this approach results in a homogenized soundscape across MCU films, diminishing their individuality.
These criticisms resonate to some extent with the viewer experience; indeed, few MCU themes from this period, with the possible exception of Alan Silvestri’s Avengers motif, linger in popular memory. However, memorability is not the sole measure of a score’s success, and it is necessary to evaluate these critiques against established theories of film music functionality to determine their broader validity.
Alignment with Gorbman’s Principles of Classical Hollywood Scoring
Claudia Gorbman’s seminal work on the Classical Hollywood Film Score outlines key principles that govern effective film music, including invisibility, inaudibility (subordination to dialogue and visuals), and the role of music in signifying emotion and narrative continuity (Gorbman, 1987). Through this lens, the criticisms of MCU music appear partially valid but incomplete. Gorbman emphasizes that film scores should not draw attention to themselves, instead supporting the narrative unobtrusively. In this regard, MCU scores often succeed; their generic quality ensures they do not overshadow the fast-paced visuals or dialogue, aligning with Gorbman’s principle of invisibility.
However, Gorbman also underscores the importance of music in creating emotional resonance and reinforcing narrative unity—areas where the MCU scores arguably fall short according to The Marvel Symphonic Universe. The lack of distinctive leitmotifs for characters or recurring themes across films undermines a cohesive auditory identity, which Gorbman sees as vital for guiding audience interpretation over time. Therefore, while the MCU music adheres to some of Gorbman’s principles, the critique regarding its failure to create a lasting emotional or thematic impact aligns with her emphasis on music as a unifying narrative force.
Kalinak’s Perspective on the Function of Film Music
Kathryn Kalinak offers a more general framework for understanding film music, identifying its capacity to establish mood, enhance character development, and underscore dramatic tension (Kalinak, 1992). Applying Kalinak’s ideas, the MCU scores demonstrate functional competence but limited ambition. They effectively heighten tension during action sequences and evoke appropriate moods—such as excitement or suspense—through dynamic orchestral swells and rhythmic intensity. However, as The Marvel Symphonic Universe suggests, they often fail to deepen character arcs through music, a key function Kalinak highlights. For instance, unlike John Williams’ character-specific themes in Star Wars, which musically mirror internal struggles or triumphs, most MCU characters lack a signature sound that evolves with their narrative journey.
Thus, while the MCU scores fulfill basic functions as described by Kalinak, the criticism of their lack of depth and individuality holds weight. They serve the immediate needs of the scene but rarely contribute to a broader, memorable musical narrative—a gap that Kalinak’s framework implicitly critiques.
Additional Critiques Inspired by Gorbman and Kalinak
Beyond the points raised in The Marvel Symphonic Universe, further criticisms of MCU music emerge when viewed through Gorbman’s and Kalinak’s theories. Gorbman’s focus on narrative continuity suggests that the MCU’s frequent shifts in composers (e.g., Ramin Djawadi for Iron Man versus Brian Tyler for Thor: The Dark World) may disrupt a unified musical identity across the franchise. This inconsistency could hinder the audience’s subconscious connection to the overarching story, an aspect Gorbman deems crucial in Classical Hollywood scoring.
Similarly, drawing on Kalinak, one might argue that the MCU’s reliance on a standardized, action-oriented soundscape limits its ability to explore diverse emotional registers. Kalinak notes that music can convey nuanced psychological states, yet MCU scores often prioritize bombast over subtlety, potentially missing opportunities to enrich character-driven moments. These additional critiques reinforce the notion that while the MCU music functions adequately on a surface level, it often lacks the deeper narrative and emotional integration that both scholars advocate.
Continuity and Memorability: Insights from Asher-Perrin
Emmet Asher-Perrin’s discussion of continuity in popular franchises offers a complementary perspective, emphasizing the importance of consistent elements—visual, narrative, or auditory—in building a cohesive fan experience (Asher-Perrin, 2016). In the context of the MCU, Asher-Perrin’s observations support the criticism of inconsistent musical themes, as the lack of recurring motifs across films undermines a sense of shared universe continuity. While later MCU phases have made strides in this area—Silvestri’s Avengers theme recurs in Endgame with poignant effect—the earlier films critiqued in The Marvel Symphonic Universe often lack this connective tissue. Furthermore, memorability in film music, as Asher-Perrin implies, stems from repetition and emotional association, qualities that the MCU scores from 2008–2016 generally fail to achieve on a widespread scale.
Conclusion
In conclusion, the criticisms of the MCU’s music as articulated in The Marvel Symphonic Universe are largely valid when assessed through the theoretical frameworks of Gorbman and Kalinak. The lack of memorable themes and distinctive character motifs aligns with Gorbman’s emphasis on narrative unity and emotional cueing, as well as Kalinak’s focus on character development through music. However, these critiques do not fully acknowledge the scores’ functional success in supporting immediate narrative needs, such as mood setting and unobtrusive integration, which adhere to certain principles of Classical Hollywood scoring. Additional considerations, such as compositional inconsistency and limited emotional depth, further highlight areas for improvement, while Asher-Perrin’s insights underscore the importance of continuity for audience engagement. Ultimately, while the MCU scores are not without merit, their shortcomings in creating a lasting musical identity suggest that greater attention to thematic consistency and narrative depth could elevate their impact. This analysis not only validates aspects of the criticisms but also points to broader implications for the role of music in expansive cinematic universes, where cohesion is as critical as spectacle.
References
- Asher-Perrin, E. (2016) Continuity in Pop Culture: Why It Matters. Tor.com.
- Every Frame a Painting. (2016) The Marvel Symphonic Universe. YouTube.
- Gorbman, C. (1987) Unheard Melodies: Narrative Film Music. Indiana University Press.
- Kalinak, K. (1992) Settling the Score: Music and the Classical Hollywood Film. University of Wisconsin Press.
