Jaws (1975)

fig 1.

For a time, there has always been an underlying sense of the primevil in horror flicks. In the long run when an antagonist can trigger our instinctual responses, it can be the foundation of a really good action/horror adventure film. Jaws follows the plight of Amity Bay and its resident policeman (Roy Scheider) who is troubled by mysterious deaths off the beach. Said deceased are caused by a shark, but the governing body deny any risk in favour of oncoming business. For his lagging reputation as a protector of the people, and to catch the shark, our protagonist teams up with a hunter (Robert Shaw) and an oceanographer (Richard Dreyfuss).

fig 2.

One of the main things that gave this film such life was the marketing towards the more general public. As a summer film a lot of content contained involved summer activities such as sunbathing and swimming. It plays with the audiences unified reaction in their response when introduced to the shark for the first time. By using this to its advantage Jaws celebrated a newer tradition at the time involving the cinema's reputation with a wider audience. 

fig 3.

The scenes were presented in a way that is easily understood by a wide variety of people. This is done through body language and well delivered lines that define scenes and their purposes, as they should be in any kind of Hollywood fashion to guarantee views. Jaws of one of the best known of such practises. 'The characters all have straightforward motivations. A little dialogue goes a long way. Individual lines stand out for hard-edged terseness' (Ebert 2000) And when said fashion is meant to be presented to one of the broader demographics during summertime, the presentation of a simple, but exhilarating plot during the more relaxed time of year can of course have the best of the human mind to itself.

fig 4.

But at the same time as being so easily perceived the film has also been viewed on a more metaphorical level. Greek revolutionaries reckoned the shark to Marxist progressions. Feminists complain about the first victim being a female, and how her cries could be reckoned towards those of rape. While unlikely that this was the real intention, the fact that the simplistic content could provoke reaction proves the malleability of plot matter towards different walks of life. 'Once we realise this we find it possible to accept that audiences may find a multiplicity of meanings in any one film text; its meaning is not necessarily fixed, unchangeable.' (Graeme 1999)

fig 5.

In knowledge of all this now it is no wonder the film Jaws had such a success at the box office. It was released at the point of time where views were assured, which all goes to show how catering to an audience can pay off. 'the story seems to be moving in a certain direction, and in most cases the viewer understands that it will come to a deliberate end, reach a purposeful and satisfying conclusion.' (Prince 2010) In the end, it is like we as the audience imagined, a bloodthirsty animal comes preying for those who lay in sloth like a free banquet, an exacting of our caution against the out of doors that is buried by the modern lifestyle. 

Bibliography
Ebert, Roger. "Jaws Movie Review & Film Summary (1975) | Roger Ebert". Rogerebert.com. N.p., 2017. Web. 28 Feb. 2017.
Prince, Stephen. Movies And Meaning An Introduction To Film. 5th ed. Boston: Pearson Education Inc., 2010. Print.
Turner, Graeme. Film As Social Practise. 3rd ed. London: Routledge, 1999. Print.

Figures
fig 1. Spielberg, S. Jaws. (1975). [poster]
fig 2. Spielberg, S. Jaws. (1975). [film still]
fig 3. Spielberg, S. Jaws. (1975). [film still]
fig 4. Spielberg, S. Jaws. (1975). [film still]
fig 5. Spielberg, S. Jaws. (1975). [film still]