Spielberg uses iconography to show that whatever is swimming is just as frighteningly in control as the vampires and monsters from the earlier films. The music starts with a low violin sweeping, until gradually other instruments get involved. Here Spielberg is using the music to increase the tension. As the music speeds up it mimics a heart beat pumping faster and faster, as if running or in fear of something. However the music leads you to an anticlimax and it becomes deathly quiet and calm
In the second scene a harmonica can be heard. The camera begins to pann the view of the beach it stops at a long shot then zooms in gradually you are lead into a beach side party. People are drinking and smoking around a bonfire. Here Spielberg twists the stereotype of fire within horror films. Instead of the fire being scary, out of control and dangerous Spielberg makes it look safe and relaxing.
By having the people drinking and smoking Spielberg is adding irony; this is because as a viewer we are aware that no good comes out of teenage drinking within horror movies. The camera uses a mid-shot whilst it searches amongst the people trying to find its’ “victim”. This echo’s the first footage of the “monster” The victim turns out to be a young blonde teenage girl, quintessentially a must in any horror film.
The camera shot is then changes to a close-up of the young couple running across a sand dune into the darkness of the night. The camera seems to follow or even stalk the victims as they descend further and further away from the light of fire and the safety of number.
A mid-shot of the male stumbling drunkenly across the dunes calling to the female asking her where they are going is used to enhance the isolation of them. The young girl replies to his query with a high-pitched “swimming”
The fact she has stressed this word reminds the audience of their prior knowledge of something evil in the waters. By this point tension is beginning to mount.
The young blonde dives into the water naked. I can connote two facts that are relevant with this scene. Number one is that the girls dive is perfect showing the audience that however dumb and naïve the picture has painted her, she is skilled in water an able swimmer. The second is the fact that the female is naked, this not only used to add vulnerability but to also add tension.
The view from underneath the girl is a low angle long shot, the fact she is alone is mimicked by the starless sky and darkness of the night.
As the motif begins to play, you know something terrible is about to happen. There is a close up on the girls face; Suddenly the girl is pulled underwater screaming and crying. The film then cuts to the male who ironically is sleeping peacefully on the safety of dry land; the first light of dawn is beginning to break in the background birds can faintly be heard
The young woman is eventually dragged underwater. The shot is a mid-shot of the dark sea looking calm and still. Diegetic noises can be heard. Here Spielberg is using irony once more, as only the viewers really know what has just gone on beneath those deathly still waters. At this point the audience are still left with the enigma of what the monster is.
By scene three first light has broken through the clouds. It is now daytime. There is a close-up of a male’s face peering out of his window onto the ironically still seas. Soft lighting is used on the woman’s face this makes her look soft and pretty, the home is bright and airy.
A child run’s into the kitchen claiming to have been bitten by a “vampire”
Here once again dramatic irony comes into play as only the viewer know about the vampire like movements of the “monster” in the first few scene’s of the movie. A phone is heard ringing in the background, the husband rushes to pick up one of the two phones that are fitted upon the wall. Unfortunately he picks up the wrong phone and the line is dead, by using the stereotypical
“Horror movie hoax call” Spielberg is referring to iconic movies such as psycho.
The man picks up the other phone and proceeds in having a conversation with the person on the other line; this leaves the audience with a mystery. Who was the husband talking to? The husband then stands up and sets off to work.
In the background one or the children is heard asking to go swimming, this mimics the high-pitched innocence of the young girls voice and reminds the viewer of the nature of the film.
As the Husband drives away from his idyllic home, his wife is heard telling him to be careful. He then drives off at a safe speed. Of course by this point as a viewer you are aware that something is going to happen to ruin this perfect family.
Scene four begins with non-Diegetic noise a radio can be heard playing but no radio is within view at this point. There is a long shot of a billboard that ironically features a blonde haired girl who is strikingly similar to the young girl that has just been killed. This is Spielberg once again using dramatic irony as only the audience know about the death of the young girl.
Suddenly the car stops, and a mad come into mid-shot crying and blowing his whistle. The mise-en-scene is that of a rough ocean possibly signifying turmoil below the waters.
The camera shot then changes to that of a close up. Gulls and other sea side Diegetic noises can be heard, the view is that of a mutilated hand. The fact Spielberg does not show more of the mutilated body gives the Audience an enigma. The men struggled to hold down vomit, the man who originally found
The body has saliva dribbling down his face showing pure shock horror.
All in all I believe Spielberg used many useful iconic images to help him create the ultimate summer horror film of all time. But at the same time created many iconic images of his own, Such as the eerie jaws jaw’s motif. People from all ages can hear the tune and feel Goosebumps surging from there skin as the horror sets in.
