The project is currently configured as two chapters in collections of essays [both commisioned]
Jarre and the Nazis
Between 1960 and 1969, Maurice Jarre wrote scores to no fewer than seven war films that featured Nazi personnel, contexts and ideologies.  Working with the directors Henri Verneuil, John Frankenheimer, René Clément, a team headed by Darryl F. Zanuck, Anatole Litvak and Luchino Visconti, Jarre produced scores that ranged from the least ambitious The Longest Day (1962) to the most impressive: La caduta degli dei of 1969. All seven scores deploy three principal musical categories: the march, citations of pre-existing material, and what is termed Jarre’s ‘Conservatoire’ idiom, derived from the composer’s experience working alongside Pierre Boulez in the 1940s, and at the Paris Conservatoire.
Détente, Résistancialisme and Shostakovich Reception: Paris brûle-t-il? and the Music of Violence
Maurice Jarre’s score for René Clément’s film Paris brûle-t-il? echoed throughout the last third of the twentieth century; it was a successor to Jarre’s music for Lawrence of Arabia, Doctor Zhivago and especially The Longest Day. While The Longest Day dramatised the events of the D-Day landings in June 1944, Paris brûle-t-il? brought the liberation of Paris of August the same year to the screen. Jarre’s music fell into two principal groups: the instrumental waltz that subsequently was texted as Paris en colère and achieved celebrity as a freestanding work, and the music associated with the members of the Resistance. The Resistance music was unambiguously modelled in the first movement of Shostakovich’s Seventh Symphony whose programme reflected the Siege of Leningrad two years before the Liberation of Paris. Jarre’s parody of the Leningrad symphony, like Shostakovich’s original, deploys sustained crescendos and stacked ostinati, but as part of a film score re-appears on several dramatically appropriate occasions in its original form and with several types of variant. Reading Jarre intertextually against Shostakovich throws the generic codes of Paris brûle-t-il into relief.