Overview: Brief Approximately 2 Pages Double-Spaced P 322419

Overviewa Brief Approximately 2 Pages Double Spaced Paper Critiq

OVERVIEW: A brief (approximately 2 pages, double spaced) paper, critiquing and evaluating a scene from a film. Instructions: Choose a single scene (or sequence) from one of the films: • Jaws • Baby Driver Briefly describe the scene and its impact/effect on the film as a whole, explaining whether or not you feel the scene was effective. Then support your point of view by giving specific examples from the scene. You will most likely have to re-watch the scene to provide the specific moments/lines/actions/etc to support your point of view. While writing composing this essay, make sure to use the concept of Screenplay by Syd Field (1979).

Paper For Above instruction

The critique and evaluation of a specific scene from a film necessitate a detailed and analytical approach that considers both the scene’s content and its function within the broader narrative context. For this assignment, I have chosen the iconic scene from Steven Spielberg’s Jaws where Chief Brody first spots the shark fin emerging from the water. This scene serves as a pivotal moment that significantly influences the film’s tension and audience engagement, exemplifying effective storytelling through visual and auditory elements, as well as adhering to the screenplay structure outlined by Syd Field.

In the chosen scene, Chief Brody is on the beach, feeling uneasy about recent shark attacks. The scene effectively employs suspense-building techniques, such as the gradual increase in music, the uneasy silence, and the subtle visual cues—like the distant fin cutting through the water. The screenwriter skillfully utilizes the three-act structure, with the scene functioning as the midpoint of rising action, escalating tension by revealing a visible threat. The dialogue is minimal but impactful, with Brody’s internal conflict subtly conveyed through his actions and expressions. The scene’s impact is heightened by the use of a subjective camera angle that immerses the viewer, creating a psychological connection and amplifying the suspense.

Critically, this scene exemplifies Syd Field’s concept of the setup, confrontation, and resolution structure. The setup introduces the character’s fears and the community’s vulnerability; the confrontation occurs as the fin appears, bringing the threat into focus; and the resolution, which comes later in the film, involves confronting the danger directly. The scene’s effectiveness lies in its ability to evoke fear and anticipation without overt exposition, relying instead on visual storytelling and strategic pacing. The use of sound—such as the ominous music swell—serves as a cue for viewers to anticipate danger, demonstrating mastery of screenwriting principles that guide emotional and narrative development.

Furthermore, the scene exemplifies how screenplay elements like character motivations and scene purpose align with visual storytelling. Brody’s internal struggle is made palpable through his visual cues—tensed muscles, quick glances—highlighting his role as the reluctant hero. The scene also adheres to the screenplay paradigm, where the scene advances the plot by revealing the threat, thus maintaining narrative momentum. The effective use of foreshadowing, with the shark’s fin serving as a visual motif, builds suspense and states the scene’s significance within the film’s arc. Overall, this scene illustrates proficient screenplay craftsmanship that enhances the film’s emotional impact and narrative cohesion.

References

• Field, S. (1979). Screenplay: The foundations of screenwriting. Dell Publishing.
• Jaws. (1975). Directed by Steven Spielberg. Universal Pictures.
• McGregor, T. (2007). Understanding film: An introduction to film studies. McGraw-Hill Education.
• Thompson, K., & Bordwell, D. (2010). Film history: An introduction. McGraw-Hill Education.
• Seger, L. (1992). Making a good script great. Samuel French.
• Monaco, J. (2000). How to read a film: Movies, media, and beyond. Oxford University Press.
• Schatz, T. (1981). The Genius of the System: Hollywood Filmmaking in the Studio Era. Pantheon Books.
• Chatman, S. (1978). Story and discourse: Narrative structure in fiction and film. Cornell University Press.
• Kawin, B. F. (1982). How movies work. University of California Press.
• Altman, R. (1999). Film/Genre. British Film Institute.