Film music is considered an important part of media production. Despite the fact that external piano accompaniment was already used in the screening of the first audiovisual work created by the Lumière brothers (L’Arrivee d’un Train and La Ciotat [The Arrival of a Train and La Ciotat], 1895), the way of looking at film music has changed radically over the past few decades. The production of economically and audience successful films is now subject to a number of modern trends, with the music and the sound component of the work itself becoming one of the most important presentation and promotional materials of a film. For this reason, the present scholarly study focuses on the identification of elements of seriality and transtextuality in the selected research material, a film depicting the life of a character with superheroic powers – Black Panther: Wakanda Forever (Coogler, 2022) – with an emphasis specifically on the work with film music. The theoretical part of the study focuses on defining central terms, in particular the notions of seriality and transtextuality, and clarifying their meaning in the context of the issue under study. The evaluation of the research material, in terms of identifying the elements of seriality and transtextuality associated with its musical and sonic components, becomes the subject of the subsequent case study. Regarding the use of seriality and transtextuality in the production of media texts, we suggest that a certain causality is discernible when looking at film music and the audiovisual work associated with it. With the intention of answering the given assumption, a qualitative discourse analysis and characteristic logical-conceptual procedures are employed. The final parts of the study summarize the acquired theoreticalempirical information and comprehensively point out the possibilities of using the elements of seriality and transtextuality in film (music) production.