represents it. Te shark is far more frightening before the audience lays eyes on it. Trough the use of anunder-water camera, focusing in on the legs of unsuspecting swimmers, Spielberg create tension in thesuggestion of the shark's point of view. “Te fast-moving 124-minute lm engenders enormous suspense asthe shark attacks a succession of people; the creature is not even seen for about 82 minutes, and a subjectivecamera technique makes his earlier forays excruciatingly terrifying all the more for the invisibility.”(Murphy, 1975) During the lm's climax, Quint's death is far less scary than the earlier attacks, as the shark'sunrealistic appearance is distracting and almost comical.“Best of all is Steven Spielberg's direction: the camera moves like a predatory animal, gliding eerily acrossthe surface of the vast Atlantic, creating sequences of almost unbearable suspense (never mind that thescariest scene was shot in a swimming pool). It’s no wonder a generation of holidaymakers still thinks twicebefore stepping into the water.” (Huddleston, 2012)John Williams composed perhaps one of the most famous scores of all time.
Before we see anything, ourears are chilled by composer John Williams' menacing two note soundtrack which then builds into thatunforgettable frenzy as the unseen shark savages its rst victim. Never has a lm score so perfectly propelledthe action or us to the edge of our seats.” (Martin, 2012) Earning the composer an Academy Award, thesoundtrack builds tension and stays with audience long aer the screening has nished.Figure 4.