Abstract
In this short intervention we examine the relationship between Led Zeppelin’s Immigrant Song and the Marvel Cinematic Universe’s Thor: Ragnarok. We do this to highlight the doubleness of both texts’ meaning, which gives each an aura of postcolonial subversion. This relation is important because in this case Immigrant Song was central to the production of Ragnarok, with director Taika Waititi allowing the song to suffuse the film from its inception. When we speak of music in film, we must also consider the deeper role of music in inspiring the tone of various filmic productions.
Highlights
In this short intervention we examine the relationship between Led Zeppelin’s Immigrant Song and the Marvel Cinematic Universe’s Thor: Ragnarok
From classic studies of catchy music as a way of introducingpolitical lyrics to impressionable audiences (Marcus 1975; Jarvis 1985), to more recent work that considers the ability of music to entrain bodies (Gilroy 1993), to the proliferation of neoliberal culture that surrounds music, music has revealed itself as something whose politics can be conceptualised in many different ways
In this brief intervention we argue that one aspect that has been neglected in this voluminous literature is the role that music plays in inspiring the politics of other media
Summary
In this short intervention we examine the relationship between Led Zeppelin’s Immigrant Song and the Marvel Cinematic Universe’s Thor: Ragnarok. Our case study comes from the repeated use of Led Zeppelin’s Immigrant Song in the Marvel Cinematic Universe’s instalment, Thor: Ragnarok (2017).
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