Jaws [DVD] [1975]

Product Information

Kenneth Muir, John (28 July 2010). Horror Films of the 1980s. McFarland Publishing. p.590. ISBN 9780786455010. Archived from the original on 7 July 2023 . Retrieved 20 August 2019.

Jaws Surfaces on the iTunes App Store". IGN. Ziff Davis, LLC. 19 August 2010. Archived from the original on 2 August 2022 . Retrieved 27 April 2019. Jaws' marks a major and significantly momentous point in the history of cinema and filmmaking, whether as a general movie-going experience or as an interest for academic study. Definitely the most obvious aspect of its legacy is that it introduced Steven Spielberg to the world and made him, who at the time was still only 28-years-old, into a household name. The film doesn't exactly illustrate a particular style that's uniquely his — that's to come years later with ' Raiders of the Lost Ark' and ' E.T. the Extra-Terrestrial,' which evolved into a distinctively refined aesthetic in ' Schindler's List' and 'Munich' — but it's one hell of a prelude of things to come from such a young filmmaker. The 1975 horror thriller shows skill, polish, and efficiency, delivering the sort of terrifying, visceral punch we expect from movies but rarely attain. And to this day, just shy of its 40th anniversary, it remains one of the greatest, most effective suspense films ever made. a b c d "Summer of the Shark". Time. June 23, 1975. Archived from the original on November 30, 2009 . Retrieved November 9, 2011. Nashawaty, Chris. "The 25 Worst Sequels Ever Made – 10. Jaws: The Revenge (1987)". Entertainment Weekly. Archived from the original on January 7, 2010 . Retrieved March 11, 2010.

Trumbore, Dave (5 October 2015). "Watch the 'Jaws 19' Trailer and Enjoy a Pepsi Perfect". Collider. Complex Media, Inc. Archived from the original on 12 November 2021 . Retrieved 3 January 2019.

Richard Dreyfuss reveals why he made 'Piranha 3-D:' "to get money";– Film.com". Film.com. Archived from the original on May 7, 2010 . Retrieved August 19, 2010. Wyatt, Justin (1994). High Concept: Movies and Marketing in Hollywood. Austin: University of Texas Press. ISBN 0-292-79091-0.

Conclusion

Ochoa, George (2011). Deformed and Destructive Beings: The Purpose of Horror Films. McFarland. ISBN 978-0-7864-6307-7. a b "Jaws (1975)". Box Office Mojo. Archived from the original on April 2, 2020 . Retrieved August 27, 2020. Derry, Charles (1977). Dark Dreams: A Psychological History of the Modern Horror Film. A. S. Barnes. p. 82. ISBN 978-0-498-01915-9. On November 20, 2020, a replica of the shark, also called "Bruce", was lifted into place at the Academy Museum of Motion Pictures in preparation for the museum's April 2021 opening. It was expected to be a major attraction. Greg Nicotero spent seven months restoring Bruce, which had been created after the original three sharks were destroyed and was on display for 15 years at Universal Studios Hollywood. Bruce then spent 25 years in a junkyard, until the owner donated the shark to the museum in 2016. [240] Home media Despite tension between Quint and Hooper, they and Brody head to sea on Quint's boat to hunt the shark. As Brody lays down a chum line, the shark suddenly appears behind the boat. Quint, estimating it is 25 feet (7.6m) long and weighs 3 tonnes (3.0 long tons; 3.3 short tons), harpoons it with a line attached to a flotation barrel, but the shark pulls the barrel underwater and disappears.

Buffa, Chris (2016). "Jaws Revenge iPad Review". Modojo. Archived from the original on 28 January 2015 . Retrieved 27 April 2019. Jaws (12)". Total Film. August 29, 2005. Archived from the original on October 23, 2013 . Retrieved April 15, 2010. There are various interpretations of the meaning and effectiveness of the primary music theme, which is widely described as one of the most recognizable cinematic themes of all time. [83] Music scholar Joseph Cancellaro proposes that the two-note expression mimics the shark's heartbeat. [84] According to Alexandre Tylski, like themes Bernard Herrmann wrote for Taxi Driver, North by Northwest, and particularly Mysterious Island, it suggests human respiration. He further argues that the score's strongest motif is actually "the split, the rupture"—when it dramatically cuts off, as after Chrissie's death. [78] The relationship between sound and silence is also taken advantage of in the way the audience is conditioned to associate the shark with its theme, [80] which is exploited toward the film's climax when the shark suddenly appears with no musical introduction. [83] Priggé, Steven (2004). Movie Moguls Speak: Interviews with Top Film Producers. McFarland. ISBN 0-7864-1929-6.

Chitwood, Adam (April 10, 2012). "Universal Confirms Digitally Remastered JAWS Coming to Blu-ray August 14; Watch Steven Spielberg Talk About the Restoration". Collider. Archived from the original on December 21, 2013 . Retrieved April 11, 2012.

Hawtree, Christopher (2006-02-14). "Peter Benchley: He was fascinated by the sea, but his bestselling novel tapped into a primeval fear of the deep". The Guardian. London. Archived from the original on 2018-07-01 . Retrieved 2008-08-18. Kochberg, Searle (1996). "Institutions, audiences and technology". In Nelmes, Jill (ed.). An Introduction to Film Studies. London: Routledge. ISBN 0-415-10860-8. Canby, Vincent (June 21, 1975). "Entrapped by 'Jaws' of Fear". The New York Times. Archived from the original on November 7, 2005 . Retrieved August 3, 2006. a b "33rd Annual Golden Globe Awards Nominations". Hollywood Foreign Press Association. Archived from the original on November 24, 2010 . Retrieved January 28, 2011. Therkelsen, Michael (9 May 2015). "Where Are They Now?: Lee Fierro". Horror Society. Archived from the original on 2 July 2017 . Retrieved 19 May 2019.

Lambie, Ryan (25 April 2016). "Celebrating the B-movie performances of Michael Caine". Den of Geek!. Archived from the original on 3 October 2018 . Retrieved 19 May 2019. King, Susan (July 13, 2000). "Feeding 'Jaws' Fans". Los Angeles Times. Archived from the original on January 11, 2012 . Retrieved January 5, 2012. McBride, Joseph (1999). Steven Spielberg: A Biography. Cambridge, Massachusetts: Da Capo Press. ISBN 978-0-306-80900-2.