On the Role of
Music in Comic Book
Film Adaptations
Portia Graves
1
Contents Page
Abstract
3
Acknowledgements
4
Introduction
5
Chapter 1: Do comic book film scores have a musical genre of
their own?
12
Chapter 2: Does music help to inject the original comic book
imagery back into the film?
34
Conclusion
50
Bibliography
57
Discography
61
2
Abstract
This dissertation discusses the role of music in comic book film
adaptations, focusing on the films Batman (Tim Burton 1989), Superman
(Richard Donner 1978) and The Cat Returns (Hiroyuki Morita 2002). This
essay explores two questions in particular. The first chapter discusses
whether or not comic book film adaptations have a unique music genre of
their own, looking at, and comparing, narratives, themes, leitmotifs and
the portrayal of action, drama and suspense. As a result of this chapter, I
will discover what musical elements in these films are unique and
different to other genre films and offer an explanation as to why this is
the case.
The second chapter will explore how, and if, the music helps to inject the
original comic book imagery back in to the film, with the help of specific
musical techniques and styles, posing the question that if there were no
music, would the comic book element be non-existent? This section will
examine the colour, pace, movement and the frame layout of the comic
books. I have produced a Comic Book Image scrap book that will
accompany and support this chapter, showing, visually, how music injects
comic book elements that may be lost without the music, making the role
of music crucial, particularly in these films.
3
Acknowledgements
I would like to thank Davinia Caddy for helping me throughout
the entire dissertation process; introducing new ideas and showing
encouragement. I would also like to thank Susan Graves for proof
reading and assisting in anyway she could.
4
On the role of music in comic book film adaptations
This dissertation will explore the relationship between music and
film adaptations of comic books. I shall focus on three films in
particular: Batman (1989), directed by Tim Burton and with music
by Danny Elfman, Superman (1978), directed by Richard Donner,
with music by John Williams and The Cat Returns (2002), directed
by Hiroyuki Morita, with music by Yuji Nomi. The first two are based
on characters from the DC American Marvel Comics, Batman,
created by graphic artist Bob Kane and writer Bill Finger and
Superman was created by Jerry Siegel and Joe Shuster. The third
film is based on characters created by Aio Hiiragi for the Japanese
Manga Comic, Baron The Cat Returns.
My main aim, in general, is to explore the role of music in these
three films. In particular, I would like to consider whether or not the
composers are able to inject the original comic book imagery back
into the film with the help of musical techniques and styles, posing
these two questions: without music, would the original comic book
element be non-existent, and furthermore, does the power of the
music add to the expression and excitement of the comic book
genre? I should also like to discuss the leitmotifs used by each
composer as well as ideas of musical suspense and atmosphere. One
5
of my goals is to discover if comic book movies have a music genre
that is unique to them.
In general, of course, music in film is used to capture emotion
and drama, enhancing the on-screen image. The visuals alone cannot
evoke enough energy and power without the music. These films, in
particular, rely upon music to add expression and excitement, as
Batman and Superman have been developed into real life films, so
the original 2D format and bold outlines
cannot be visually
represented. Therefore, musical support is crucial in helping to reflect
action and emotion, injecting elements of movement, pace and
colour.
Comic book film adaptations are visually and musically fast
paced and dynamic because of their original comic book content,
containing storylines that are full of action as well as having a range
of characters with differing powers, attitudes and attributes. For
example, the superheroes in these films, Superman, Batman and the
Baron, differ from each other because they all possess different
powers and strengths as well as living in contrasting environments,
some dark and gothic, others bright and vibrant.
6
The reason I have chosen to focus on these three films is
because, on the surface, they all contrasting musically and visually,
but the comic book basis and fantasy-based narrative is the same
thus enabling good comparisons to be made. Even though Batman
and Superman are both originally from the Marvel comic book
industry, with the same superhero frame for a narrative, the film
composers,
Danny
Elfman
and
John
Williams
have
distinct
compositional styles; each score is unique.
Danny Elfman is well-known, according to Janet Halfyard, for
“…demonstrating a very different type of scoring, a grand orchestral
style capable of being both somber and dramatic that was described
as ‘gothic’ by reviewers.”1 According to Gillespie, Danny Elfman is
known for his “shadowy scores of exaggerated comic book quality.”2
His scores include Beetlejuice (1988), Sleepy Hollow (1999) and the
more recent hit, Corpse Bride (2005), all of which are directed by
Tim Burton. Elfman’s style is instantly recognizable, with his delicate
yet ethereal motifs. The ‘Jokers theme’ in Batman is an excellent
example of this. Elfman is also famous for his invigorating rhythmic
passages of music such as, according to Nick Joy, the “rousing
Halfyard, Danny Elfman’s Batman A Film Score Guide, p. 23
Internet site at http://www.filmreference.com/Writers-and-Production-Artists-Ei-Gi/ElfmanDanny.html
1
2
7
Batman march…a classic.”3 Quoted by Paul Place, “Danny Elfman was
the most obvious composer to score Spiderman.” 4 It comes as no
surprise, therefore, that Elfman was indeed chosen to compose the
score for Spiderman (2002), as he possesses a cartoon and comic
music style.
John Williams is famous for his compositions, spanning over six
decades, and has been awarded five Academy Awards to date. His
scores usually accompany epic adventures or films containing science
fiction narratives, including Star Wars (1977+), Indiana Jones
(1981+), and, more recently, Harry Potter (2001+). He leans heavily
on leitmotifs; almost every character is attached a theme. For
example, Superman’s theme returns whenever Superman appears.
The more heroic the deed, the louder and denser the orchestra’s
texture becomes, “creating one of the most memorable themes in
history”5
according
to
Hughes.
Williams
is
an
admirer
of
Romanticism, hence he uses large orchestral arrangements. His work
is usually described as Neoromanticism, a genre which evokes
sentiment and expression by using flourished and extended tonal
passages. Williams’ ‘Love Theme’ in Superman is a prime example of
this. The strings hold a repetitive and modulating melody, supported
3
4
5
8
Internet site at http://www.musicfromthemovies.com/review.asp?ID=5667
Internet site at http://www.musicfromthemovies.com/review.asp?ID=197
Hughes, Comic Book Movies, p. 11
by embellishments on woodwind and brass, creating, overall, a
vibrant and expressive romanticized piece.
The Japanese graphic novel, Baron The Cat Returns, has a
different narrative and structure containing neither the same kind of
action or drama as the Marvel comics. It is more magical and
fantasy-based rather than based on real life events. Napier says,
“Part of anime’s appeal is its “differentness”.” 6 Japanese Manga
comics are well known for their characters being a “combination of
cuteness and fantastic powers”7 again, according to Napier.
The main dissimilarity between these films is that The Cat
Returns is still in its original animated cartoon format whereas
Batman and Superman have been adapted into real life, 3D
situations. The composer, Yuji Nomi, also scored for the Studio Ghibli
anime film, Whisper of the Heart (1995), which is a prequel to The
Cat
Returns.
His
compositions
are
very
melodic
with
subtle
harmonies including flowing themes combined with delicate rhythmic
sections. He is able to create spiritual and airy tones with certain
instruments and techniques. He uses flute and harps predominantly
in the track ‘Encounter with Rune’, from The Cat Returns, producing
6
7
9
Napier, Anime from Akira to Howl’s Moving Castle, p. 23
Napier, Anime from Akira to Howl’s Moving Castle, p. 7
a peaceful and romantic style. This piece is also written as a waltz, as
are a majority of his pieces, creating a dance like rhythm which is
uncommon in films today.
This dissertation will consist of two structured chapters. The first
chapter will explore the function of music within each film, focusing
on how the composers inject expression and excitement with the use
of music, supporting and capturing the visual and narrative nature of
the comic book genre. I will also compare and contrast the different
techniques each composer uses exploring factors which, I believe,
are the most important in these three films. These factors include
action, suspense, love and, also, the primary character roles.
In the first chapter, I wish to discover if the music for this genre
of film is much tighter in the way in which it interacts with the
visuals. I believe this will be the case because of the amount of
action and cartoon elements that comic books possess. In relation to
this, I will explore the ‘Mickey Mousing’ technique, which is found
particularly in early cartoons, and which mirrors the on-screen
images musically. I believe cartoons and comic books share similar
qualities, thus allowing the same technique to be used in these comic
book films, displaying a musical tightness. As a result of this chapter,
10
I will determine whether or not similar musical techniques are used
to create a unique ‘comic book’ music genre.
The second chapter of this dissertation will explore how the
music is able to inject the original comic book imagery back into the
film; focusing on movement, colour, pace, image positioning and
frame layout. This will be supported by the Comic Book Image scrap
book that I have produced.
Over all, this dissertation will conclude with how powerful and
important the role of music is in comic book films and why the onscreen
image
is
not
able
to
stand
alone
without
musical
accompaniment. In the first chapter I will explore and discuss how,
and if, the music for these films has a genre of its own.
11
Chapter One
Do comic book film scores have a musical genre of their own?
This chapter will compare and contrast the musical techniques
each composer uses to portray the comic book narrative and
characters. I will explore how the music is similarly managed in each
film and how the music corresponds with the on-screen visuals,
which may be different to other films. I will concentrate on what I
believe are the main narrative themes and character roles in these
comic book films, focusing on heroic figures, villains, love, action,
suspense and climax. As a result of this chapter, I will discover if
these comic book film scores have a musical genre of their own.
I will begin by offering a brief synopsis of each of these films.
The Cat Returns keeps to the graphic novel’s illustrations as much as
possible. Angelo states, “The first thing to notice about this
soundtrack is that it is ever-changing; never drab. Nomi explores
each theme just long enough for it to make an impression, and then
moves on.”8 It tells the story of a Japanese school girl, Haru, who
saves a cat whilst crossing the road and to return the favor, he tells
his father, the Cat King, to repay her kindness. The Cat King does his
8
Internet site at http://www.animedream.com/music/cat-returns-ost/
12
best to please Haru, by sending mice and catnip. However, this is not
what Haru considers to be a human gift, so in addition, the Cat King
decides to arrange a marriage between her and his son, the Prince.
She receives help from the Cat Baron and his accomplice Muta, as
they rescue her from the Cat Kingdom and return her to her original
world. This is a fantasy-based graphic novel with magical elements
woven into an adventure story.
The comic book Superman became a world wide success the first
day it was printed. Superman creates the same impact on audiences
around the globe and so does the musical score. Superman tells the
story about the son of Scientist Jorel, Superman/Clark Kent/Ka-lel,
being sent to Earth to be safe from the destruction of his collapsing
home planet, Krypton. He is then found in Kansas and adopted by a
farmer and his wife. As he grows and develops, he becomes aware
that he possesses super strength and phenomenal powers, including
X-ray vision and the ability to fly. Superman realizes his powers can
help prevent crimes and disasters, so he moves to the city of
Metropolis, where his identity is hidden whilst he works as a ‘mild
mannered’ journalist at The Daily Planet, under his adopted name of
Clark Kent. Superman’s arch enemy is the villain Lex Luthor, who is
13
constantly battling against Superman in his attempt to conquer the
world.
The first Batman film to be produced was in 1966, directed by
Leslie H. Martinson. This film was adapted from the early Detective
Comics, in the cross over from the 1930’s to the 1940’s, when
Batman was portrayed as an extremely colourful and almost comical
character; as Hughes states, “Batman and Robin were always
punning and wisecracking and so were the villains.”9 This is in
contrast to the more recent Batman films directed by Tim Burton, all
of which are extremely dark and gothic, being based upon the much
later DC comics, produced in the mid 1980’s. According to Cartmell
and
Whelehan,
“Burton
fashioned
a
dark,
brooding,
deeply
psychological story for the Caped Crusader which pitted him against
the Joker but was set in a dark, hellish vision of Gotham City.”10
Batman, like Superman, keeps his past and identity hidden from the
outside world. He is known in his everyday life as the millionaire and
philanthropist, Bruce Wayne. He only adopts his disguised alter ego
Batman when he is called upon to help prevent the crimes in Gotham
City. He receives a visual call from the police; a bat symbol projected
into the sky. The Joker, Batman’s arch enemy, was originally small
9
Hughes, Comic Book Movies, p. 35
Cartmell and Whelehan, Adaptations From Text To Screen, Screen To Text, p. 186
10
14
time criminal Jack Napier. As a result of a fight he had been thrown
into a tank of acid, which had left him with a multicoloured face and
a permanently disfigured smile, thus prompting Jack to rename
himself the Joker.
Music and characters: the villains
The villains in Batman, Superman and The Cat Returns are all
completely contrasting in terms of image, attitudes and powers.
However certain characteristics are comparable and made visible
within each musical score.
In Batman, the Joker is portrayed as being extremely outlandish
and insane, possessing an evil streak and a malevolently mischievous
nature. According to Meltzer, “The Joker…is regarded as one of the
most evil and dangerous villains.”11 The Joker has a range of
accompanying themes, including ‘Waltz to Death’ (Track 1 ‘Waltz to
Death’ from accompanying CD). The Joker’s attitudes and antics in
this scene, not to mention his appearance, combined with this rather
grand and uplifting music is disturbing to watch. He parades as if he
11
Internet site at www.adherents.com/lit/comics/Joker.html
15
is in a circus act, showing the complexity of his character, contrasting
his uncontrolled behavior with the controlled waltz accompaniment.
The transition of small time criminal, Jack, into the ‘dastardly’
arch super criminal, the Joker, is made apparent in the music.
According to Halfyard, “One of the principle differences between Jack
and the Joker is their relationship with the music. Jack has no special
relationship with music at all.”12 The point at which Jack becomes the
Joker is accompanied by discordant and disjointed music (Track 2
‘Kitchen Surgery, Face-Off 1st example’ from accompanying CD). “It
combines whole-tone composition with entirely atonal passages,
moving in and out of whole-tone tonality”13 according to Halfyard. As
an audience, we are aware of the change in music. There is an
indication that a theme will be introduced, but Elfman does not give
the
Joker
appropriated
a
theme.
a
body
Halfard
of
explains
music
for
that
himself,
the
a
Joker
reading
“…has
that
automatically attributes to him an awareness that exists within the
narrative construct of a film.”14
The Joker is such a diverse character; his emotions and actions
are always contradictory, so a returning motif or attached theme
12
13
14
Halfyard, Danny Elfman’s Batman A Film Score Guide, p. 93
Halfyard, Danny Elfman’s Batman A Film Score Guide, p. 93
Halfyard, Danny Elfman’s Batman A Film Score Guide, p. 95
16
would ruin his image of diversity and insanity. The music that
accompanies the Joker, is nearly always comic and quirky with
bounce and verve, overriding the majority of other themes in the
score, an indication of the power and importance of this character.
The instrumentation is constantly being altered because of the many
musical styles that are attached to his character However, when he is
shown as being sinister, the accompanying music is chiefly carried by
low pitched instruments, consisting primarily of rumbling strings and
a low register piano motif, combined with, and contrasting to, the
chromatically played repetitive rhythms on high pitched instruments,
such as pizzicato strings. This music reflects the imbalance of his
character,
which
is
both
mischievous
and
evil
(Track
3
‘Danger…Clown Attack’ from accompanying CD).
Unlike the Joker, Lex Luthor and the Cat King have themes that
return throughout the film whenever their storyline returns or trouble
occurs. The Cat King holds a theme which is heavily dominated with
low strings, low brass and low pitched timpani acting as a bass line.
This plays a slow and laid back, repetitive, bold beat, portraying a
heavy and governing character that is in control (Track 4 ‘The Cat
King’ from accompanying CD). The Cat King has a dominant leitmotif
that holds the overall power, although, at points in the film, his
17
theme is made less dominant due to the Baron’s overpowering
theme. Even though the Cat King’s theme is rather sullen and angry,
there is also a slight comic element, as slides on the trombones,
along with muted trumpets, chromaticism and detached rhythms
create an amiable feel.
The rhythmic patterns and instrumentation is the same for Lex
Luthor’s theme. Whenever Luthor dominates a scene, the oboe,
string and tuba-led theme begins, all low in pitch, holding a firm,
repetitive rhythm with an tight tempo (Track 5 ‘March of the Villains’
from accompanying CD). This is an entertaining theme, as it depicts
a plodding march; however this changes depending on the context
and situation. There are variations of Luthor’s ‘March of the Villains’
theme; for example, the track ‘Misguided Missiles and Kryptonite’
holds the same rhythm but is played at half the speed, with altered
note pitches creating, overall, an unnatural and uneasy feel in
contrast to the more usual chromatically lighthearted and upbeat
theme for this character (Track 6 ‘Misguided Missiles and Kryptonite’
from accompanying CD).
The music which accompanies the comic book villain differs from
that which normally accompanies more realistic villain portrayals.
18
Instrumentally, the former uses large wind and brass sections with
high pitched percussion creating an imbalance and discordance. The
villains’ themes dominate and overpower others. The use of
repetition, such as powerful riffs and rhythmic sections, assists in
creating this dominance. These repetitive riffs and rattling rhythmic
sections, combined with extreme chromaticism is at points and a
bouncy pace, create a comic quality which would not be found in
more realistic and serious films.
Heroic characters
In each of the three films I have chosen to study, there is a
heroic figure that is dependable, trustworthy and greatly admired.
Yuji Nomi introduces the Baron as a heroic figure immediately. When
we first see the Baron, his theme is immediately introduced, chiefly
carried by the trumpet and repetitive string accompaniment including
harmony on horns and flutes creating a pastoral and cheerful effect.
His theme indicates that there is nothing mysterious or secretive
about the Baron. The instrumentation with pretty, melodic sweeps on
strings and embellishments on sweetly sounding flutes, portray him
as being not only heroic, but gentle and kind (Track 7 ‘Baron’ from
accompanying CD). The strings and flutes also create a romantic
19
ambience reflecting his charming character. There is also a magical,
majestic element to his theme, with the main melody being lightly
carried by soft, detached flutes and glissandos played on the harp,
thus creating a relaxed and comfortable atmosphere.
Superman’s theme is also heavily dominated by trumpets and
low strings. Lace says this theme “…slowly evolves into a serene
string melody”15 using an entire orchestra including a variety of
treble instruments such as triangles, harps and celestes. According to
Tonks, it is “a ‘March’ of such patriotic pomp it has remained the
warm-up of choice for sporting teams the world over”16 (Track 8
‘Prelude and March’ from accompanying CD). Superman’s theme, like
the Baron’s, has a majestic feel which makes us connect immediately
with his character. This heroic and energy driven music, with strong
brass and rhythmic string accompaniments, creates a dense texture
which increases as more instruments are added, producing many
climactic points throughout the score. The support of such a strong
and expressive theme, leads the audience to believe that Superman
is reliable and courageous, unlike Batman perhaps, who conveys a
more threatening image.
15
16
Internet site at http://www.musicweb-international.com/film/lacejw.htm
Tonks, Film Music Pocket Essential Music, p. 56
20
Batman’s theme is a contrast to both the Baron’s theme and
Superman’s theme. Elfman succeeds in portraying Batman as a
gentle, yet mysterious, character giving this comic book hero a
theme which begins with soft and subtle tones combined with slow
pitch and dynamic increase, gently expressing the transition between
normal man, Bruce Wayne and the ‘Caped Crusader’, Batman. As the
theme progresses, the pace increases and the texture thickens, now
representing his strengths and powers (Track 9 ‘Batman’s Theme’
from accompanying CD). The creator Bob Kane explains, “Unlike
other comic book heroes, Batman has no super powers, just world
class athleticism…I wanted Batman to have the ability to be hurt.”17
We watch him full in love with Vicky Vale and mourn the memory of
his parents’ death. The contrast in the music helps to express his
emotions at these times. As Prendergast explains, “Music can be
used to underline or create psychological refinements – the unspoken
thoughts of a character or the unseen implications of a situation.”18
In the many scenes that Batman is triumphant, his bold and
dominant theme constantly pushes aside other motifs in the score
making them seem less important.
17
18
Extended Documentary Feature, Batman DVD (Warner Bros 1989)
Prendergast, Film Music a Neglected Art, p. 216
21
Instrumentally and rhythmically, these heroic themes are similar
because of the use of strong brass and string dominated melodies,
low and bold bass lines and energetic and upbeat accompaniments.
They also compare in the way that their themes show strength as
well as vulnerability and emotion. All of these themes, however, have
their own personal element injected into the music, representing
their
powers
accompany
and
the
attitudes.
super
These
heroes
triumphant
whenever
they
heroic
are
themes
on-screen,
producing a rather predictable and almost clichéd effect, not usually
found in films of a more realistic genre.
Love Themes
All three films contain an element of love, lust or simply
admiration, which is represented by the music, but in very different
ways, depending on how important the composer feels the love
scenes are in these films.
The love affair between Vicky Vale and Batman/Bruce is not
shown as being important, musically, as Elfman does not create a
specific theme, showing little emotion and drama in comparison with
the other events in the film. Elfman had a tendency of limiting the
22
music in the Vicky and Bruce’s love scenes, creating a “cold and
awkward”19 atmosphere according to Halfyard. The Love theme,
consisting of strings, a flute and a piano, cannot stand on its own, as
there is no depth and no established motif or melody, making
repetition of this theme impractical. This differs to The Cat Returns
and Superman, as their love themes are very strong and passionate
and easy to interpret. Batman’s ‘Love Theme’ is controlled by Batman
as apposed to Vicky, as Batman’s motifs are subtly integrated into
the theme nearer the end of the piece. This reflects that these love
scenes are more focused on Bruce’s vulnerability and emotional
status, because this is the first time we see Batman contemplate
embarking upon a romantic relationship where he could reveal his
hidden self (Track 10 ‘Love Theme’ from accompanying CD).
In The Cat Returns, Haru is immediately fascinated with the
Baron.
As the film progresses and Haru starts to change, a slight
love theme emerges, as the Baron comes to her rescue and carries
her in his arms. Her inner emotions are shown by the mixture of both
Haru’s and the Baron’s theme, showing a connection between them.
When Haru’s face is in focus, a romantic waltz begins; with a melody
carried by the oboe, which initially sets the scene. The oboe is known
19
Halfyard, Danny Elfman’s Batman A Film Score Guide, p. 71
23
to be a very pastoral instrument, creating a peaceful and idyllic
atmosphere. The power from the Baron’s theme is placed around
Haru’s theme for support. Haru’s theme consists of a slow waltz with
soft and bouncy accompaniments on the harp and a melody carried
by the clarinet and flute, altogether conveying her innocent and
childlike nature. It has been described as a “dainty little waltz carried
by flute and clarinet…The song expresses kindness, but in a reserved
manner”20 (Track 11 ‘Chat with a Cat’ from accompanying CD).
Throughout the film, as the Baron and Haru form a close bond, she
also grows and matures which is indicated by the music, particularly
in the track ‘I’m Back, I’m Back Home Now!’ This theme increases in
texture; the melody is chiefly carried by brass; the speed is
noticeably faster and with a louder volume making it more vibrant;
also, the backing in her original theme is simple, quietly played on
the harp, whereas this track includes fast trills on strings and flutes
as accompaniment (Track 12 ‘I'm Back, I'm Back Home Now!’ from
accompanying CD).
Superman’s love theme is individually placed within the score. It
is not connected or combined with other themes, showing the
importance of Lois and Clark’s/Superman’s relationship. When Lois
20
Internet site at http://www.animedream.com/music/cat-returns-ost/
24
and Clark are alone together, the music is very different from when it
is Lois and Superman. The audience knows Clark is Superman and
the music helps the audience appreciate this dramatic irony. The
Superman theme is subtly placed into the score at this point creating
a delicate accompaniment which is far from overpowering (Track 13
‘Lois and Clark’ from accompanying CD). When Superman’s and Lois’
love theme begins, it has a delicacy, enhanced by soft flutes and
pizzicato. However, it becomes increasingly powerful as the orchestra
gradually increases and instruments become more emphasised.
Melodies and harmonies become more embellished and all sections of
the orchestra take the lead at different points in the piece, making
both the melody and the supporting harmonies as important as each
other, thus creating a romanticized effect. This theme is considered
to be “one of the best love themes ever composed”21 by many,
including Luscious Lazlo. (Track 14 ‘Love theme Superman’ from
accompanying CD).
The lack of musical themes within the love scenes in both
Batman and The Cat Returns, indicate their unimportance; whereas
Williams
has
composed
an
entirely
separate
love
theme
for
Superman, as Lois’ and Superman’s relationship is significant in this
21
Internet site at http://www.moviemusic.com/mb/Forum1/HTML/005461.html
25
film. Even though Elfman and Nomi do not attach a unique love
theme to their scores, they do combine their characters’ themes,
creating a variation, showing the characters’ bonds and relationships.
Instrumentally, these love themes, regardless of how important they
are within the score, have embellished sections on flutes, strings and
harps, attaining a romantic feel. The melodies are constantly
climbing in pitch, expressing an enlightening and uplifting mood. The
tempo of these love themes is not fast, it is relaxed, making for a
comfortable and peaceful setting.
Action, Suspense, Climax
Scenes of action and fighting are visually expressive making the
audience aware of dramatic events. However, music helps to inject
the excitement and drama because of the way it is able to “duplicate
the action by synchronous illustration”22 as quoted by Prendergast.
Musical suspense and climaxes often support the build up in action
sequences. Comic book film adaptations are full of excitement, action
and suspense because of their original comic book narratives.
Creating suspense and climax, musically, is a fundamental technique.
All composes are aware that increasing volume, pitch and pace
22
Prendergast, Film Music a Neglected Art, p. 184
26
creates an anxious and dramatic effect. However, I believe the way
in which the music corresponds with the on-screen action, in these
comic book films as apposed to other action orientated films, is much
tighter and precise.
As a prime example of this, Elfman is known for his musical
tightness and comic style. According to Neale and Smith, “at times
he even ‘Mickey Mouses – mimics screen action, yet it is not
pleonastic, it is a central component of the film’s identity and of its
narration.”23 Fist fights, brawls and chases are tightly connected with
the music, synchronizing almost every action to music, which helps
to increase the power, drive and pace in the action scenes.
In Batman, the tension and suspense when we are waiting for
Jack to show his new ‘Joker’ face is immense. The music at this point
becomes increasingly bizarre in pitch and rhythmically chaotic as
Jack turns into the Joker. It portrays a troublesome and mischievous
character with more than a streak of evil and insanity, as random
notes are played on the piano and tuba against sustained strings
(Track 15 ‘Kitchen, Surgery, Face-Off’ from accompanying CD). This
builds up, increasing in pitch and volume, waiting for a climax. The
23
Neale and Smith, Quoted by Donnelly, Contemporary Hollywood Cinema, p. 151
27
audience is made to believe that the new face will shortly be
revealed. Instead, the music becomes more intense and, because
there is no definite climax, the music is left unresolved, creating an
awkward and uneasy feel. This happens, also, when Batman takes
Vicky to his Bat Cave. When they arrive, all is silent, which is
unexpected because of the build up beforehand.
When Vicky Vale is taken to the Bat Cave in the Bat Mobile,
through a dark, eerie forest, the music is a combination of woodwind,
strings and timpani all backed with an eerie and sustained choir. The
audience knows where he is taking her as the Batman theme
gradually gets incorporated into the score at this point. The suspense
builds as the choir unexpectedly begins with staccato articulation and
phrasing, lending “the music a sense of the scale and power of the
work”24 as quoted by Halfyard. This becomes increasingly louder and
more powerful as they get nearer to the Bat Cave (Track 16 ‘Descent
into Mystery’ from accompanying CD). ““Descent into Mystery” is,
without doubt, one of the best-known and important cues in the
score”25 as thought by Halfyard. Elfman creates climaxes by layering
up melodies and harmonies over a stable bass line so that the
majority of the instruments, as we reach the climax, are playing in
24
25
Halfyard, Danny Elfman’s Batman A Film Score Guide, p. 131
Halfyard, Danny Elfman’s Batman A Film Score Guide, p. 131
28
unison. Elfman sometimes inserts a break in the middle of a climax,
introducing a composition technique that is very individual to him
which is a rhythmic rattling section (Track 17 ‘Batman to the Rescue’
from accompanying CD). This is used every time Batman or another
important character talks between a serious action orientated scene,
thus adding a slight comic feel and light heartedness, which gives the
audience a break from the overall dark and gothic ambience of this
film.
Nomi’s score also shows a sense of light heartedness in The Cat
Returns, diminishing the serious and dangerous fighting scenes in the
film. When Haru is kidnapped and taken to the Cat Kingdom, the
music is serious and bold, portraying danger, as minor, pitch
descending motifs are used (Track 18 ‘The Abduction to the Seraglio’
from accompanying CD). As a fight breaks out between the cats,
rhythmic strings with fast and repetitive flute motifs are used to
accompany this action. This section of the film score, builds up in
texture, pitch and volume, increasing the tension and suspense,
whilst low cellos play a steady yet harrowing decreasing minor scale,
signifying that the Cat Kings is responsible for the fights in this
scene.
29
When the Baron shows him self at the Cat Kingdom, the guards
prepare themselves to fight and the heroic Baron’s theme returns
overpowering the Cat Kings theme completely, although at times,
there are minor sections containing low brass lines portraying danger
and possible defeat as spears and chains are thrown. As the Baron,
Muta and Haru quickly run through the maze to get to their escape,
the music is calm to begin with, but then it picks up pace as soldiers
rush towards them. The music is by no means menacing or hinting at
danger. This piece is quite bouncy and light, as music on the oboe,
strings and flutes dominate this section creating a delicate passage
with subtle modulations between major and minor keys
(Track 19
‘Escape from the Labyrinth’ from accompanying CD). The strings and
brass are fast and lively keeping in pace and in sync with everyone’s
steps, which again, could be classed as Mickey Mousing as it mirrors
the on-screen image, representing physical aspects.
This scene reaches a climax as Haru is ordered to go on ahead
and reach the top of the tower where she will be able to return to her
Human World, but as she reaches the top, she cannot hold on
because of the strong wind at the top of the tower (Track 20 ‘Escape’
from accompanying CD). Four repetitive notes on the piano, backed
my strings are enough to build up the fear and anxiety which Haru
30
feels. She eventually falls and immediately the music becomes silent,
producing yet another unresolved climax. All we can hear now is
diegetic noise of the wind and Haru’s screams, until crows assist by
catching her fall. Her theme eventually returns when she is safe, so
the climax is eventually resolved, but delayed.
When Superman is first seen performing a heroic deed,
Metropolis watches as he saves Lois. Fast, high pitched strings are
used along with diegetic sounds, such as sirens and screams from
the pedestrians below, creating dangerous and intense music. As
Superman flies to the rescue, his rhythmic brass theme begins,
without melody at first, and then, as soon as we see his logo, we
hear his theme properly. As Lois falls, music descends in pitch
creating a climax until Superman catches her and his theme is
twinned with the falling helicopter. Soon after, we hear his entire
theme
representing
the
superhuman
ability
and
strength
of
Superman, as this is the first time anyone, including the audience,
has seen him as a super hero, making this scene with its music,
extremely significant.
When Superman is freed after being captured by Luthor, he
immediately returns to his quest of rescuing the world from danger,
31
which Luthor had instigated. Superman’s theme returns every time
he is seen (Track 17 ‘The Big Rescue’ from accompanying CD). There
is not always music in this rescue scene, even though action scenes
are usually powered with musical climaxes creating fear and tension,
but diegetic sounds of hills crumbling, screams and cars getting
crushed are effective enough. Music would just distract the attention
from the visual aspects of the film. Music starts to develop as
Superman begins his heroic acts, saving lives and preventing
disasters. This music is a combination of Superman’s theme merged
with an evil minor theme as Luthor watches Superman ruins his
plans to conquer the world.
Action, suspense and climax in these films are built up in the
same way as they are in other action orientated films. I have shown
that the music does not differ in terms of how drama and
atmosphere is created, however certain musical techniques are used
in these films that are not used in others. For example, film scores
are powerful and solemn when action is concerned, making the
action scenes the most dominant and expressive, whereas the music
in these films show comical and playful qualities which make for an
individual and unique film music style. Mickey Mousing is another
technique used where action is concerned in each of these films.
32
Even though the technique is not as familiar today as it used to be in
early cartoons, these films introduce slight Mickey Mousing at specific
points in the film to represent movement, pace and action. Each
composer also has a tendency of inserting silence when the audience
expects a climactic outcome, at times making silence a part of the
climax.
In result of this chapter I have found that each score contains
the generic music qualities as well musical techniques which are used
only in these comic book genre films, creating a unique comic book
music genre. This is made apparent by the tightness between the
music and the visuals, the overly predictable and triumphant super
heroic themes combined with those of the comic, yet sinister, villain
themes.
In the next section I will look at how this style of music helps to
inject the original comic book imagery back into the film.
33
Chapter Two
Does music help to inject the original comic book imagery back
into the film?
This chapter differs from the previous chapter in that it discussed
how the music for these comic book films has a music genre of their
own, looking, specifically, at the role of music within the film. This
chapter, however, will demonstrate how the musical score helps to
inject the original comic book imagery back into the film by looking in
detail at the original comic book illustrations rather than the onscreen visuals. This chapter is supported by the accompanying
scrapbook. This second chapter explores how the music instills colour
into the film, introduces movement and pace and also correlates to
the comic book layout of images and frames. This chapter is
structured by these visual elements. To begin with I will look at
colour.
Colour
According to Prendergast, “Film music is overwhelming and
colourist in its intention and effect.”26 I agree with this statement.
26
Prendergast, Film Music a Neglected Art, p. 213
34
The use colour in comic books is crucial for portraying excitement,
emotion and character traits. Some of these elements are not as
apparent on-screen as they are in the comic book. However, I believe
the music assists the injection of colour and excitement into the film,
by
using
certain
fundamental
aspects
in
music,
including
instruments, dynamics and the overall timbre.
According
to
Brooker,
“Gotham
‘is’
Batman.”27
This
is
immediately apparent in the comic book Batman, which contains a
mix of colours, from the dark, shadow-like Batman figure entwined
with a similarly dark and dimly lit Gotham City and the multicoloured, vibrant Joker, representing a colourful, diverse and
eccentric character. According to Hughes, “only the Joker constantly
uses colour, most notably purple or blue for his clothing and green
for his hair”28 (see page 8 of accompanying book).
In the 1980’s, Batman comics started to become very dark and
gothic with detailed and shadowy illustrations expressing an entirely
different tone from that of the earlier 60’s comic books (see page 11
of accompanying book). These darker illustrations inspired Burton to
create his own adaptation of Batman.
27
28
Brooker, Batman Unmasked Analyzing a Cultural Icon, p. 49
Hughes, Comic Book Movies, p. 40
35
Gotham City was portrayed as a sinister, gothic city with ugly
gargoyles on buildings and dirty, dangerous suburbs, where crimes
happened at night. Skies were coloured dark blue, green or purple,
helping to emphasize the projected Batman logo, the visual call for
Batman’s assistance (see page 3 of accompanying book). Halfyard
describes: “the architecture of the city itself is represented by the
gargoyles, symbolically reinforcing the connection between the
Gothic Batman and Gotham.”29 The darkness of Gotham helps
Batman blend into the surroundings both visually and emotionally.
The darkness not only disguises his physical persona, but helps to
keep his inner self secretive and mysterious and his past hidden.
Elfman represents the dark streets of Gotham City perfectly by the
use of low rumbling strings, close cut minor harmonies played
throughout the entire orchestra and “deep Gothic brass, chiming
celesta and Grand Guignol organ”30, as quoted by Neale and Smith.
These instruments and pitches enhance the dark and dismal
appearance.
Bob Kane’s drawings of Batman shows him to be dark and
detailed with grim, chiseled facial features and a well defined
muscular torso (see page 5 of accompanying book), suggesting a
29
30
Halfyard, Danny Elfman’s Batman A Film Score Guide, p. 149
Neale and Smith, Contemporary Hollywood Cinema, p. 151
36
threatening image. In the film, Batman’s harsh and sharp features
are not as disturbing as the original illustrations, although Elfman’s
theme for Batman evokes his original threatening image. He does
this by creating a theme that develops into an invigorating and
dominating pace representing Batman’s determination and strength.
The low strings, brass, the powerful timpani and cymbal smashes
help to enhance the heroic, yet threatening portrayal of Batman. The
mysterious, shadowy comic book illustrations are characterized onscreen by using the musical motif: C D Eb Ab G F# inducing a
modulation from C minor to F major when the note F# comes in to
play. Elfman favors using this modulation technique in many of his
film scores. This modulation and use of notes symbolizes the enigma
that
is
Batman.
(Track
22
‘Charge
of
the
Batmobile’
from
accompanying CD).
Batman’s enemy, the colourful yet villainous Joker, is a diverse
and unpredictable character lacking a consistent theme. As a result
of this, the music which accompanies the Joker changes from scene
to scene in terms of style. However, the music remains quirky and
animated, used particularly to accompany scenes involving his
criminal behavior and attitude. As quoted by Hughes, “The Joker
37
insists
on
musical
accompaniments
for
his
crimes.”31
Elfman
successfully exposes the Joker’s bizarre, rebellious disposition by also
rebelling within his music in terms of tonality and motif alterations.
The music manages to inject the Joker’s evil, erratic behavior, as well
as his bright and vibrant visual image, into the film with the use of
Elfman’s own techniques that are unique and easily recognizable (see
page 10 of accompanying scrap book). Although the human portrayal
of the Joker within the film lacks some of the energy and fire of the
comic book illustrations, Elfman manages to reveal the characters
manic and mischievous nature by creating motifs that are played in
unison on xylophones and pianos, with rhythmic and percussive
backing (Track 23 ‘Attack of the Batwing’ from accompanying CD).
The artist Prince also worked in collaboration with Elfman on this
soundtrack and his music accompanies, primarily, the Joker. Prince’s
music assists in adding to the Joker’s insane and interchanging
character, using an array of Prince’s vibrant and energetic 80’s beats
and sounds.
Halfyard explains, “The combination of the Jokers appearance,
his antics, and the music combine to create a sense of circus, albeit a
grotesque and dangerous one, the more dangerous for having turned
31
Hughes, Comic Book Movies, p. 40
38
a murder into an ungraceful, comic dance set to an otherwise elegant
waltz.”32
Moving on to Superman, Superman’s theme is bold, vibrant and
dazzling. This music embodies his character’s comic book image
perfectly as the entire comic book is bright, colourful and expressive
(see page 13 of accompanying book). Superman’s infamous costume
consists of the primary colours, red, blue and yellow which
satisfyingly create the basis of Superman’s theme, which consists of
a major, bold and colourful rhythmic bass line which helps to portray
Superman’s strength, speed and determination. As Hughes says, “In
contrast to the two Batman films…associated with darkness and
night, Superman was going to be a superhero adventure set
primarily in daylight – in sunlight, even”33, which is the primary
reason why we can differentiate both scores because of their
uniqueness in illustrations and settings. The whole image of
Metropolis is bright and cheerful which explains Superman’s upbeat
and gratifying score, represented by major keys, beautifully blended
harmonies and rich tones played on strings and muted trumpets
primarily. The sweeping of the flutes also helps to inject a playful and
lighthearted air.
32
33
Halfyard, Danny Elfman’s Batman A Film Score Guide, p. 95
Hughes, Comic Book Movies, p. 20
39
The black and white graphic novel Baron The Cat Returns has
numerous picturesque images, all delicately drawn and shaded with
precise detail resulting in every image being classically beautiful and
mystical (see page 30 of accompanying scrap book). Yuji Nomi’s
music is very romantic and pretty with a light quality as he uses
dominant oboe, flute and string accompaniment in certain parts of
the score. Pizzicato is also a technique which reveals an upbeat and
magical feel. A glockenspiel is also used, which plays in unison with
the strings section doubling up on the melodies, helping to create a
light hearted piece reflecting innocence and little danger. The films
do not lack colour, like the original illustrations, however the musical
timbre is consistent throughout, showing that colour is not a
prominent feature. The delicate, sweeping melodies and sweet,
expressive harmonies capture the detail in the drawings, superior to
the colour. Frederik Schodt, an American writer and translator for
anime works, has said that “Japan is the first nation on earth where
comics have become a full fledge medium of expression.”34 Japanese
Manga is classically beautiful whereas Marvel comics may not be
classed in the same way and are in an entirely different style.
34
Napier, Anime from Akira to Howl’s Moving Castle, p. 20
40
Movement and Pace
Although movement and pace in films are visually noticeable, music
helps to add correct expression and setting into the scenes. Music
commonly associated with these scenes includes loud, rhythmic and
expressive scores. In this section I will look at how these comic book
illustrations create movement and pace without the use of music and
how musical rhythms, dynamics and pitch can inject these stylistic
elements into the film.
The Batman comics accentuate movement and pace, particularly
when Batman is fighting (see page 6 of accompanying book). We see
power and force in these images, not just because of the incredible
strength; strong muscles and zoom lines are illustrated and the
onomatopoeia that accompanies these images is also a vital factor in
comic books, even today. Batman comics have become fiercer over
the years; the onomatopoeia has become more brutal, from
“SPLOSH” to “KRUKATCCCHHH” and “POW” to “THRAKK” (see page 7
of accompanying book). Arm swoops, breaking glass and ferocious
fights in the shadows are quite frightening in the 1980’s Batman
41
comics. Batman’s fighting illustrations in the comics are more
detailed and physical than those that are shown in the film, as real
life dramatics can only reach a certain level and illustrations can
reach any extreme. Elfman’s music helps to show this action by the
rhythmic bass notes, fast and abrupt string melodies and swoops in
pitch, usually played on the flutes, which almost imitates the punches
and kicks in the comics. The music helps to inject this power and
strength, because of the brash harmonies and fast paced dramatic
sequences.
Elfman’s cartoon styled score helps to accentuate the Joker’s
character as well as his actions. He uses the technique, Mickey
Mousing, commonly used in early cartoons. According to Neale and
Smith, “‘Mickey Mousing’ can be accounted for the reference of
Batman films’ cartoon qualities, inherited from their origin in
comics.”35 Elfman uses fierce and powerful brass thrusts and harsh
string harmonies against a rushing rhythmic section on both
percussion and brass, which supports the Joker’s criminal activity.
The Joker’s movements in the film do not seem as fast and
flamboyant as they are in the comics, but the music injects this thrill
and excitement. The use of pizzicato strings, staccato - played
35
Neale and Smith, Quoted by Donnelly, Contemporary Hollywood Cinema, p. 152
42
glockenspiels and vibraphones, portray the Joker’s bouncy, care free
attitude. According to Halfyard, Elfman also uses a technique called
“a musical ‘shrug’ gesture where the melody rises to a high point and
then comes to a brief stop before restarting again.” 36 This gesture is
found in the ‘Straussian Waltz’, as the Joker is prancing around the
room firing a gun.
There is no character as energetic as the Joker in Batman. In the
comic book Superman, the villain Lex Luthor is evil and threatening,
however Williams portrays him as being quite a comical character
because of the bouncy rhythms and simple instrumentation that
accompany him. Supposedly, the light-heartedness of his character is
created to form a wider audience. Even his physical appearance has
altered (see page 23 of accompanying book) and the music which
accompanies Luthor’s lair is of calypso/Hawaiian musical style,
suggesting quite an exotic character.
Superman is not seen fighting as such in the film, only saving
lives, preventing crime and avoiding physical danger. In the comic
books, Superman is seen fighting either vicious monsters, Lex Luthor
or other various villains that he encounters. Nevertheless, the music
36
Halfyard, Danny Elfman’s Batman A Film Score Guide, p. 96
43
does show Superman’s ability and strength, as Williams uses low
brass melodies when Superman is in view. In the comic books, when
Superman is flying, zoom lines, dispersed clouds and bold cape
creases show his movement and pace, whereas, musically,
this is
demonstrated and mirrored by his triumphant theme. These scenes
in the film are probably the most memorable, because of how the
music captures the movement and strength as he flies with
triumphant confidence, reflected by his monumental theme becoming
increasingly more majestic and powerful. The pizzicato on strings and
the low, rhythmic, brass bass lines that accompany his crime fighting
help reflect pace. Pitch is also a big factor in this score as Williams
uses
pitch
decreases
and
increases
depending
upon
whether
Superman falls or rises. These instrumental pitch alterations are
played on an entire orchestra, mimicking the onscreen action, which
could be classed as a Mickey Mousing. For example, when Superman
spins through the earth to find Luthor’s underground hideout, the
music imitates his spinning and descent as the pitch increases and
decreases reflecting this spinning movement (Track 24 ‘The trip to
the center of the Earth’ from accompanying CD).
This Mickey Mousing technique is also used in The Cat Returns.
The most rhythmic and expressive scene appears when the Baron is
44
chasing after Haru after she has been kidnapped. In the comic book,
there are speed lines, powerful exclamations and expressions in
movement and music is a great device for conveying these aspects.
It helps inject rhythm, movement, pace, emphasis and structure with
the help of suspense and climax. This scene is very repetitive
musically, with bass string notes and descending higher notes all in a
minor key. When they are gliding through the air, the strings glide
and softer melodies are used over the repetitive harshness of the low
strings. When there are exclamations in the graphic novel, the music
in the film seems to inject this by using horns and brass, either
ascending or descending, in quite a comic way (see page 30 from
accompanying scrap book).
This graphic novel also contains onomatopoeic expressions in
almost every picture. However, they do not work in the same way in
Japanese novels, as scenes even without action content have these
expressive marks on each page displaying movement in almost every
image (see page 27 in accompanying scrap book). This is possibly
why the majority of the film uses music as a background, whether or
not it is really needed, enhancing the image of movement and pace.
45
The movement and slow pace of the Cat King is shown as he is
carried through streets by his servants on a bed. At this point, Nomi
represents his lazy and domineering attitude by combining a slow
bass beat with slides on instruments that sound like cat whines. We
see he is very important and respected by his followers, but we are
not necessarily aware of his malevolent, domineering nature. In the
graphic novel, Hiiragi seems to represent him as more of a malicious
character by drawing slits for eyes and making him a towering figure
that governs all other cats. The music portrays his power and his
enemy status by having repeatedly forced crotchet beats in a minor
tone accompanied by a melody which changes through various minor
keys and scales.
Layout and Frames
This section is connected to the previous section, as the layout
and frames in the comic books are usually associated with the
content of the illustrations and when there is movement or action,
the majority of frames are more disorganized with overlapping. I will
explore if this organized or disorganized layout and framing is
supported by the music at any time throughout the film score.
46
Batman comics, in particular, are quite disorganized in terms of
frames and positioning, producing a disorganized and overlapped
visual appearance. The music editing in Batman could be said to
mirror this odd positioning and randomly marked cuts, as the music
tends to be jumpy and unstable at times, especially when the Joker
dominates a scene. The positioning of the Joker in the comics is also
quite strange as there are a number of shots of the Joker split up on
one page, representing his diversity and fanatical attitude (see page
9 of accompanying scrap book). This also happens when a fight
scene occurs, frames get overlapped and reshaped. The music
mirrors this energetic layout with its rhythmic pulses and unusual
beats placed on top of each other (see page 5 of accompanying scrap
book).
The frames in the Superman comic books are clearer cut as
apposed to Batman’s, and this is reflected in Williams’ score. Even
when Superman is fighting crime, there is a sense of control over the
music and specific motifs are used, thus making the score more
precise and organized (see page 18 of accompanying scrap book).
When Superman fails to reach Lois in time to save her in the film,
image shots from the comic books are used, with the same angles
and positioning. Williams accentuates these comic book image
47
positions by adding twinkling sounds to signify each change of
camera shot in the film, making the camera positioning seem an
important aspect just as the image positioning is in the comic books.
Baron The Cat Returns, like Superman, contains neat and
organized frames surrounding each image. This, again, is reflected by
the clean and precise musical cuts. However, when fights, danger or
chases develop, the use of overlapping, diagonally cut frames and
disorderly image positioning helps to increase the pace and express
the movement found in the comic books. Nomi manages to
differentiate the unorganized frames with the precise and clean cut
frames, by composing a score that is clearly phrased, with simple
melodies and definite beginnings and endings to themes; this
contrasts with brash harmonies, disorderly melodies and chaotic
rhythmic accompaniments.
This chapter, overall, has shown how music is able to inject
specific comic book visuals back into the film. Not only does the
music help to support the film scenes visually, it also injects qualities
of comic book that are not always apparent or have been removed.
For example, the onomatopoeia and speed lines are obviously not
visually seen in the films as these comic books have been transferred
48
to real life situations. However, as I have shown, the music helps to
add these elements with instrumental and rhythmic techniques.
49
Conclusion
As a result of the studies I have carried out, I have arrived at
the following conclusions. In chapter one, I explored the similar
musical techniques that each composer uses to help portray
characters, relationships and narratives, and how the relationship
between music and visuals correspond when an action scene takes
place, focusing on the Mickey Mousing technique.
The outcome of this chapter has led me to discover that these
comic book film adaptations do, indeed, have a unique music genre.
The musical similarities between each score, which help to determine
this genre, are connected with action, the portrayal of heroic and
villainous characters and the tightness between images and music.
There is no evidence to show that the love themes in these films are
of any significance, in relation to the comic book music genre, and
therefore had no specific or necessary input into the films.
I have discovered that music is capable of capturing the power
and adrenaline of a comic book, particularly in action scenes. There
are constant battles between characters’ musical themes when fights
occur. At times, the music is tightly attuned with the on-screen
50
images, imitating the bouncy fistfights, rhythmic chases and energy–
driven, intense struggles. In many cases, this could be classed as
Mickey Mousing. This technique was used in early cartoons of the
1920’s and 1930’s, as seen in cartoons such as Tom and Jerry,
scored by Scott Bradley, helping to capture pace, drama and
emotion, without necessarily needing dialogue. It is interesting to see
that this technique has a place in the more recent comic book films
that I have studied and not in other genre films, as it is classed as
being “lazy, cheap and old-fashioned for a soundtrack to ape the
visuals”37 as said by Arlyn. Cartoons are closely related with comic
books visually in terms of their colour, bold lines and overexaggerated action scenes, which is perhaps why the Mickey Mousing
technique has been carried across to this genre of film, to inject the
early cartoon style.
The musical themes which support these heroic characters are
all instrumentally comparable as they use strong rhythmic brass
sections combined with string dominated melodies. Musically, these
are the generic qualities that show power and dominance. This aptly
portrays
their
heroic
status,
but
their
differing
powers
and
personalities are reflected in their individual character themes. There
Internet site at http://peet.wordpress.com/2007/06/22/film-music-blog-a-thon-in-defense-ofmickey-Mousing/
37
51
are musical elements which are unique to these comic book films,
making these heroic figures unlike other heroes in other film genres.
For instance, the appearance of these comic book heroes on-screen
is almost always accompanied by their individual musical theme,
instantly creating an association between the audience and the
character. This, combined with the overtly mystical, power - driven
themes, could be seen as being too predictable and clichéd if used to
portray heroes in a more realistic film setting, but in comic book films
this appears to be a perfect technique for superheroes.
Finally, the villains’ themes share a rhythmic and chromatic
upbeat quality, with the same wind, string and percussion sections,
reflecting a bouncy, comic nature, even though each villain is
different in the way they execute their crimes. This music adds a
lighthearted feel which is highly unusual in other action-based films
with evil characters not usually shown in such an amusing way. I
believe that the comic element that is added to accompany these
characters must be used, not only too emphasize the early comic and
cartoon qualities, but also, to make these films available and
appreciative to a wider audience.
52
The second chapter deals with how the music helps to inject the
original comic book imagery back into the film, focusing on colour,
movement, pace, frames and image layout. Instruments, rhythms
and timbres are important for injecting colour and emotion. Colour is
a powerful device which can convey a vast range of feelings. For
example, the colour blue is considered to be cool and tranquil. As
indicated by Walker, “it calms tense subjects and increases feelings
of well-being.”38 Superman’s blue costume represents this relaxed
colour, and is complemented by Williams’ radiant and uplifting
Superman theme.
The Mickey Mousing technique is also explored in this second
chapter, as comic book illustrations are visually expressive and over
exaggerated where movement and pace are concerned. Generically,
movement and pace is shown musically by using repetitive rhythms,
fast tempos and expressive musical backing combined with heavy
timbres. In these films, musical embellishments are also used to
inject, and take the place of, certain comic book visuals, such as
onomatopoeia and speed lines. These visual sounds are injected back
into the film by the way the music mirrors these illustrations using
pitch slides, extreme dynamic alterations and a wide variety of
38
Walker, The Power of Colour, p. 10
53
articulation. For example, when a punch is thrown in a comic book,
the music injects this visual force by using a short and bold musical
gesture accentuating this movement.
This chapter also looked at the organization of frame and image
layout in the comic books. I thought this visual element would be
complicated to explore as it deals with organization and shapes.
However, I discovered that the music does have some connection
with the layout and frame positioning. The more disorganized the
original comic books were visually, the more discordant and chaotic
the music tends to be. For example, the overlapping and odd
positioning of images in the Batman comics was injected by Elfman
as his Batman score is, at times, jumpy and unstable in terms of
pitch and rhythm.
Chapters one and two helped to answer the question whether
the comic book element would be lost without the music. I have
come to the conclusion that there would not be as much power,
suspense and drama in these films without the music, which is
normally the case in all films. But these films also add new
54
techniques and styles which are not found in other films, as I
discovered in section one.
I encountered no specific problems throughout this dissertation.
However, during the initial process I was apprehensive about using a
Japanese anime film as I thought it would be too hard to compare
with the Marvel comic films. In particular, I thought that the contrast
between real life visuals, which are shown in the films Batman and
Superman, and the animated visuals in The Cat Returns, would make
this dissertation slightly biased as the majority of the images in the
original Manga novel are very similar to those used in the film.
However, despite my previous worries, I found this film to be a good
comparison, as it showed that however much power and expression
the on-screen visuals have, the music is always relied upon to
emphasize and enhance.
As a result of this dissertation, not only have I answered my
questions; I have also created a new question for me to consider: why
are films so reliant on music to inject atmosphere, emotion and drama
when comic books do not need music to convey their power, energy and
expression? We have so many new technological advances today, that
comic book film adaptations are increasingly improving. For example,
55
Spiderman is an outstanding success with the help of CGI and other
technological discoveries, but why is it that comic books are equally as
thrilling and do not rely on music to enhance anything? It is ironic that
comic book images hold enough power and energy to stand alone,
whereas, although films are able to show action physically using real life
actors, the music plays a vital and necessary role. This quote by Harvey
indicates that, “impressionistic illustration adds atmosphere as well as
realism”39 shows how comic books achieve their ability to excite and
enthrall by using bold texts and a combination of strong powerful images.
To conclude, I believe that the comic book element would be lost
without the music as I have found that the role of the music is crucial
for injecting the original comic book imagery back into the film and I
have discovered that these comic book film adaptations do have a
music genre of their own.
39
Harvey, The Art of Comic Book: An Aesthetic Theory, p. 51
56
Bibliography
Books:

Susan J. Napier: Anime from Akira to Howl’s Moving Castle
(Macmillan, 2005)

Deborah Cartmell and Imelda Whelehan, ed.: Adaptations From
Text To Screen, Screen To Text (Taylor and Frances Group, 1999)

Royal S. Brown: Overtones and Undertones Reading Film
Music (University Of California Press, 1994)

Janet K. Halfyard: Danny Elfman’s Batman A Film Score Guide
(The Scarecrow press, 2005)

Paul Tonks: Film Music (Pocket Essential Music, 2001)

Will Brooker: Batman Unmasked Analyzing a Cultural Icon
(Continuum International Publishing Group, 1999)

Roy M. Prendergast: Film Music a neglected art Second edition
(W. W Norton & Company, 1992)

Daniel Goldmark, Lawrence Kramer and Richard Leppert, ed.:
Beyond the Soundtrack, Representing Music in Cinema (University of
California Press, 2007)

Anne Krikler, The Magic of Music in Film (Grosvenor House
Publishing Ltd, 2007)
57

David Hughes, Comic Book Movies (Mackays of Chatham,
2003)

Bradford W. Wright: Comic Book Nation: The Transformation of
Youth Culture in America (JHU press, 2003)

Robert C. Harvey: The Art of Comic Book: An Aesthetic Theory
(University Press of Mississippi, 1996)

K.J. Donnelly: Chapter 9 ‘Batman, Batman Returns and post-
classical film music’, Contemporary Hollywood Cinema, Stephen
Neale, Murray Smith (Routledge Taylor and Francis Group, 1998)

Dr Morton Walker: The Power of Colour (Avery, 1990)
Comics:

Aoi Hiiragi: Baron The Cat Returns (Studio Ghibli)

Beatty Moench Jones: Batman (DC Comics)

Titan Magazines: Superman, Legends (DC Comics)
Magazines:

DVD review Issue 104, (Future Media with Passion July 2007)

Total Film Issue 10th Birthday Issue, (Future Media with Passion
April 2007)
58
Websites:

Internet site at
http://www.ninthart.com/display.php?article=935 accessed on
10/10/07

Internet site at http://www.musicweb-
international.com/film/lacejw.htm accessed on 01/11/07

Internet site at
http://movies.monstersandcritics.com/features/article_1172606.php/
Interview_John_Ottmann_talks_his_career_and_a_little_film_called_
Superman_Returns accessed on 02/12/07

Internet site at
http://www.dlwaldron.com/JohnWilliamsbio.html

Internet site at
http://www.supermanhomepage.com/movies/movies.php?topic=com
paring-stm-comics accessed on 10/10/07

Internet site at
http://www.worldsfinestonline.com/WF/dcuam/doomsday/backstage/
kral.php accessed on 02/12/07
59

Internet site at
http://en.wikipedia.org/wiki/Batman_(1989_film)#Music accessed on
05/01/08

Internet site at www.adherents.com/lit/comics/Joker.html
accessed on 05/01/08

Internet site at ComicBookMovie.com accessed on 10/01/08

Internet site at
http://www.podfeed.net/tags/comic%20book%20movies accessed
on 15/01/08

Internet site at http://www.musicweb-
international.com/film/lacejw.htm accessed on 25/01/08

Internet site at
http://www.soundtrack.net/features/article/?id=244 accessed on
25/01/08

Internet site at http://www.onlineghibli.com/cat_returns/
accessed on 02/02/08

Internet site at http://www.animedream.com/music/cat-
returns-ost/ accessed on 02/02/08

Internet site at
http://elfman.filmmusic.com/archive_news_x.html accessed on
03/02/08
60

Internet site at http://peet.wordpress.com/2007/06/22/film-
music-blog-a-thon-in-defense-of-mickey-mousing/ accessed on
29/03/08
Discography:

Nomi: The Cat Returns (Pony Canyon Inc. 2002)

Elfman: Batman (WARNER BROS / WEA 1989)

Williams: Superman (RHINO/WEA UK 2000)
Videography:

Batman, dir. Tim Burton (Warner Bros 1989)

Superman, dir. Richard Donner (Warner Bros 1978)

The Cat Returns, dir. Hayao Miyazaki (Studio Ghibli Optimum
Realease Ltd. 2002)
61