The objective in this monograph is to analyze and understand the musical language of three exceptional war films that were made two to three decades apart from one another. Questions that initially arise include: What kind of music belongs in a war film and why? Are there general trends or conventions followed for war film scores and, if so, how do the scores for Patton, Saving Private Ryan, and 1917 fit or not fit into that mold? The objective here is to not only look at the music itself, but to carefully examine the film to understand the intention of the composer, as well as potential challenges the composer may have been faced with in order to achieve the end result.

A musical survey of sixty war films was completed at the onset to establish commonalities and differences in the music for films in this genre. Some of these films date back to the 1930’s while others are from the past few years. Five musical cues from each of the three chosen films were analyzed and engraved reductions were produced. Segments of these reductions are used throughout the main written section of this document, yet the entire collection of fifteen reductions is included in Appendix I. This writer also conducted an interview with Thomas Newman, which is referenced in the 1917 chapter and the entire interview transcript is included in Appendix II.

Patton emerges as containing the most motivic-driven score of the three that also makes extensive use of the march, while Saving Private Ryan is structured largely around melodic prose and the hymn. 1917 is intended to feel like a ‘thrill ride’ and its music often lives in the present tense by varying levels of pulse and ambience. Therefore, this music describes and comments on very little of the action seen on screen, which would be subtly behind the plot. This document addresses the result of each of these three approaches and illuminate’s reasons for these compositional choices.

While these three films may ultimately have very little in common, musically, what unifies them is the composers’ careful attention to the narrative and its subtext. Given the importance of narrative and that each film contains one of its own, there can be no all-inclusive answer to the question, ‘What kind of music belongs in a war film?’

There is a vast and growing cause lawyering literature demonstrating how attorneys and their relationship to social justice movements matter greatly for law’s ability to engender progress. But to date, there has been no examination of the work of ADA disability cause lawyers as cause lawyers. Similarly, despite an extensive literature focused on the ADA’s revolutionary civil rights aspects and the manner in which the Supreme Court’s interpretation of that statute has stymied potential transformation of American society, no academic accounts of disability law have focused on the lawyers who bring these cases.

This Article responds to these scholarly voids. We conducted in-depth interviews with many of the nation’s leading disability rights cause lawyers. What we found makes three novel contributions. As the first examination of the activities of these public interest lawyers and their advocacy, it brings to light a neglected sector of an otherwise well-examined field. In doing so, this Article complements, but also complicates, the cause lawyering literature by presenting a vibrant and successful cohort of social movement lawyers who in some ways emulate their peers and in other ways have a unique perspective and mode of operation. The Article also forces a reconsideration of academic critiques of the efficacy and transformative potential of the ADA because it demonstrates how disability cause lawyers have effectively utilized the statute to achieve social integration in the shadow of the Court’s restrictive jurisprudence.

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