ABSTRACT
The book finishes by drawing together findings from chapters throughout the book to paint a fuller picture of the myriad ways in which music has been shown to operate within and without film to simultaneously add to fantasy worlds and to heighten our experience of them by smoothing our transition into them in whichever context. The conclusion looks to the deeper impulses behind our consumption of fantasy texts and fantasy film music in particular, pointing to the sense of home that many fans and consumers find in these filmic and extra-filmic experiences, and also looks to the continuing expansion of the musical worlds in different media. It also poses the question of who these homes are intended for, and considers those who may feel excluded from them due to a lack of representation or the problematic views of an author. The conclusion finishes by suggesting ways in which the methodologies and understanding demonstrated here may be applied to other film/franchise worlds that might seem less overtly fantastic but which continue to grow transmedially, including Star Wars, Jurassic Park, Marvel Cinematic Universe, Toy Story, Game of Thrones, Pokémon and Fast and Furious.
