Jaws [DVD] 
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Nashawaty, Chris (December 1, 1995). "Jaws (1995)". Entertainment Weekly. Archived from the original on January 13, 2012 . Retrieved January 5, 2012. Arnold, Thomas K. (August 22, 2012). " 'Hunger Games' Sweeps Sales and Rental Charts". Home Media Magazine. Archived from the original on December 20, 2013 . Retrieved March 9, 2013.
Ryfle, Steve (1998). Japan's Favorite Mon-star: The Unauthorized Biography of "The Big G". ECW Press. pp. 15–17. ISBN 978-1-55022-348-4.
JAWS Terrorizes Once Again in New Mobile Game, JAWS.io". Universal Brand Development. Archived from the original on 2023-07-07 . Retrieved 2019-11-01.
Godfather' Proves Crime Does Pay". St. Petersburg Times. New York Times Service. April 17, 1972. Archived from the original on 2022-04-23 . Retrieved 2010-03-10.Dinning, Mark. "Jaws 2". Empire. Archived from the original on October 18, 2014 . Retrieved January 5, 2012. a b c d e Bouzereau, Laurent (1995). A Look Inside Jaws[ "Production Stories"] ( Jaws: 30th Anniversary Edition DVD (2005)). Universal Home Video.
While in theaters, the film was said to have caused a single case of cinematic neurosis in a 17-year-old, female viewer.  Cinematic neurosis is a condition in which viewers exhibit mental health disturbances, or a worsening of existing mental health disturbances, after viewing a film.  The symptoms first presented as sleep disturbances and anxiety, but one day later the patient was screaming "Sharks! Sharks!" and experiencing convulsions.  a b " "Jaws The Revenge": Production Notes, Universal News" (Press release). Universal Studios. 1987.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.  Music scholar Joseph Cancellaro proposes that the two-note expression mimics the shark's heartbeat.  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.  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,  which is exploited toward the film's climax when the shark suddenly appears with no musical introduction.  Kael, Pauline (1980) . "Notes on Evolving Heroes, Morals, Audiences". When the Lights Go Down. Beverly, Massachusetts: Wadsworth. ISBN 978-0-03-056842-8.