Jaws Sound Clip Analysis

Shot number	Technical sound description	Effects on meaning/sound
1.	-Off-screen non-diegetic sound (electric terrestrial/ wind)	The off-screen non-diegetic sound is electrical and terrestrial giving it an eerie and mystical feeling. This sets the premise for the film.
2.	-Sound- bridge (electric terrestrial/wind) -Off-screen non-diegetic sound (dur-dur)	The ‘dur-dur’ is the motif of the film. It is eerie and dark with a mysterious and serious edge. It invites the audience to the tone of the film and to consider why.
3.	-Sound bridge off- screen non-diegetic sound (dur-dur) -Off- screen non-diegetic sound (bubbles)	The ‘dur-dur’ sound begins to increase in pace and becomes insistent which creates a sense of urgency to know to cause for the dark music.
4.	-Sound bridge off- screen non-diegetic sound (dur-dur) -Off- screen non-diegetic sound (horns/ orchestral)	As the actual film image appears on screen the ‘dur-dur’ becomes even more intense and ominous. The image on screen is underwater suggesting that the cause is possibly a sea creature, however due to the eerie mystical music in the credit sequence, the cause may be terrestrial. Following this there are soaring horns, which adds to the intensity of the sequence.
5.	-On-screen diegetic sound (Harmonica) -Off- screen diegetic sound (waves) -On screen diegetic sound (group talking and laughing) -On-screen diegetic sound (fire crackling) -On-screen diegetic sound (Guitar)	This sense is in strong contrast to the sound from the previous scene as it is more relaxed and mellow, however the previous scene was scary and intense. This may foreshadow dark events happening in the most unexpected times. The use of the harmonica and guitar create a sense of relaxation, which parallels the image on screen, whereby people are sat around a fire causally talking and laughing.
6.	-Sound bridge (background sound of harmonica/ talking/ waves) -On-screen diegetic sound (talking of two characters	The scene then focuses on two characters talking, which immediately shows they’re the main characters of features to this part of the film.  This effect of singling these characters out allows the audience to think about the previous dark sound and connect that they may be the cause of it. This is heightened by the fact the characters leave the group and are also both drunk.
7.	-Sound bridge (two characters talking) -On-screen diegetic sound (waves) -On- screen diegetic sound (splashing)	As the female character goes into the sea there is splashing giving the film a realistic edge. This also heightens the idea that they will be the centres of the danger as the initial dark noise came from within the sea.
8.	-Sound bridge (waves/ splashing) -On- screen diegetic sound (male character talking) -On- screen diegetic sound (bubbles/ gasping)	As the female character is in the water there are more realistic sounds of splashing and bubbles, which adds to the realism of the film.
9.	-Off-screen non-diegetic sound (orchestral/ dur-dur) -On- screen diegetic sound (splashing)	As soon as the ‘dur-dur’ noise begins this invites the audience to feel scared and they know that it is or a dark theme. It may also confirm that danger is looming and that it forebodes evil and suffering. This dark noise is contrapuntal and the scene is light and happy for the characters as all they are doing is swimming. However due to the motif the audience knows danger will follow due to the tone of the music.
10.	-Off- screen non-diegetic sound (dur-dur) -Off- screen non-diegetic sound (orchestral)	The ‘dur-dur’ noise begins to heighten which creates a sense of urgency and danger.
11.	-On- screen diegetic sound (splashing/gasping)	The characters splashing and gasping confirms the danger as she is dragged under water. This allows the audience to empathise with her character as she is merely harmlessly swimming.
12.	-Sound bridge (splashing/gasping) -On- screen diegetic sound (screaming)	The characters screaming brings a sense of extreme urgency which, in effect makes the audience react by wanting to help, or thinking why isn’t the male character helping. This gets the audience involved and engaged in the film, as it is nature instinct to help someone screaming in pain.
13.	-Sound bridge (splashing/screaming) -Off- screen non-diegetic sound (orchestral)	The scene continues with orchestral music to intensify the action happening on screen.
14.	-On- screen diegetic sound (male character talking) -On- screen diegetic sound (tide coming onto beach/ waves)	This scene is on strong contrast to the previous as it is practically silent bar the rhythmic sound of the tide and waves rolling onto the beach. This contrast brings the audience back to the realisation that this danger can happen at the most peaceful and unlikely times.

Overall sound analysis:

The sound frequently jumps from dark and evil, to light. The dark sound often forebodes the danger which is to come in the scene, however it is contrapuntal as sound usually associated with being at the beach is light and happy. The sound which is used for the group beach scene parallels the image on screen as it is on-screen diegetic, which gives a sense of realism to the film. From this I have learned that using paralleled sound is effective when establishing the mood of a scene. I will be using this in my opening sequence to establish the different moods in different scenes.