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JAWS Media Cousework

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Introduction

In the title sequence there is the sound of bubbles, marine noises and the sound of sonar which sets the scene of being under water. When the music starts it is very quiet and slow. They use the double bass with two notes, one long and low and the other faster and higher. The notes linger for a second which creates tension and makes the audience expect something to happen. While the music is slow and quiet the camera takes the Point of View (POV) of the shark as if it was searching for something. There isn't much eye-catching so it makes the audience concentrate more on the music. As this is happening the music starts getting faster and louder by introducing a brass instrument which uses higher notes and a piano which uses lower notes. After this a full orchestra makes the final crescendo and this gives a forceful approach towards the film. After this the music and the image cut instantly and this creates bathos. The cut makes the audience want more to happen and it also makes them wan to know what is going on. In the opening scene there are a mouth organ and a guitar being played. This is a large contrast between the tense music in the last scene and the relaxing mouth organ in this scene. ...read more.

Middle

After the attack there is a silence and it make life seem similar to how it was before. The audience also feels quite shocked because an innocent, helpless girl was killed by a shark. At the end of the scene it is as if nothing has happened and the dangerous monsters lair has tuned back to the safe sea. The calming susurration of the sea could calm the audience and help them get over the attack. Spielberg leaves the water almost empty at the start of this scene because it shows the audience that there aren't a lot of things that could attract a shark. Spielberg uses a simultaneous track and zooms on the boy, Alex, to set him up as a potential victim. We find out the boy's name to make the attack more personal and humanises him. In this shot the sea is in the top corner so Spielberg continues to make the audience aware of the sea. When the camera tracks the boy and shows a close up of Brody's face, he is trying to not look tense but there still is a look of concentration on his face. This also makes the audience feel tense because they are waiting for something to happen. The camera keeps on showing potential victims, like a dog who has its stick thrown into the water for him. ...read more.

Conclusion

The audience assumes that the boat has been damaged by the shark because Hooper said that they where in the sharks territory and this makes the audience think that Hooper is going to be attacked by the shark. While under water Hooper finds a shark tooth embedded in the hull of the boat. The audience is expecting the shark to attack Hooper but instead you see a head rolling out of the boat from Hooper's POV. There are a few short sharp notes and these scares the audience because the music and the rolling head are unexpected. In many parts of the film Spielberg adds humour to remove tension, one of the parts where Spielberg adds humour is when two men try to catch the shark with a piece of meat attached to a big hook. They tie the hook to the pier that they are on and when the shark tries to get away it pulls the pier and a man with it. The reason that Spielberg releases the tension is so that the audience gets tenser than before. Spielberg creates tension throughout the film in many different ways. He uses camera angles for example, the POV of the shark, to scare the audience and sharp string music. This music creates tension in the audience which can help scare the audience because it is usually unexpected. ?? ?? ?? ?? Thomas Attwood 10K Media Coursework ...read more.

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