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It doesn’t hurt that fences also resemble shark teeth.
That the ferry swings through 180 degrees sees the constantly shifting background heightening Brody’s sense of disorientation that power over the situation is slipping from his hands.
The Amity scenes also contain scenes of invisible intricacy.
Irmin Roberts was a visual-effects technician who plied his trade on the likes of The War Of The Worlds, Rear Window and The Court Jester.
Yet his place in cinema history is assured not by any of his effects work.
Look at the moment where Brody and Ellen say goodbye to each other before the shark hunt begins.
It starts with a left to right track following Ellen following Brody as she lists the supplies she’s packed (extra glasses, black socks, zinc oxide, Blistex), then pan rounds to set up a wide shot with Brody and Ellen in the foreground, left of frame, the Orca with Quint atop the bridge in the background.
It is also known by debatably its most famous use: the Jaws shot.
In its simplest terms, the dolly zoom sees the camera track towards or away from the subject while the zoom lens is adjusted in the opposite direction resulting in a increased perception of depth — chiefly the background appears to change size in relation to the foreground subject matter. In the 35 years since Jaws, the Dolly Zoom has been a) over-used and b) transformed into a visual shorthand for almost anything; fear (Frodo cottons onto the Nazgul or enters Shelob’s cave), revelations (Michael Jackson is a zombie in Thriller), trepidation (Psycho), realisations (Simba senses a wildebeest stampede), claustrophobia (Marnie), anxiety (Quiz Show), paranoia (the diner chat in Good Fellas), coolness (La Haine), parody (OSS:117 Lost In Rio) and orgasm (Laura San Giacomo in sex, lies, and videotape).
As Brody takes a ferry out to a group of swimmers who may be in danger, he is joined by Mayor Vaughn, Meadows and the Medical Examiner.