Eisenstein Analysis of ‘The Shallows’ Scene
Sergei Eisenstein analyzed films with a main focus on the editing used in a film. In other words, Eisenstein and other Soviet Montage theorists believed that in order for a film to be good, the film must take full advantage of the capabilities of editing as well as be dialectical. Eisenstein also focused on the idea of emphasizing conflict and opposition through the use of technical editing. Eisenstein states, “The basis of [the dialectical approach to film form] is the dynamic conception of objects: being as a constant evolution from the interaction between two contradictory opposites” (Eisenstein, 161). In the shark attack scene from the 2016 film The Shallows directed by Jaume Collet-Serra, Eisenstein’s criticism can be applied by focusing on the interaction between the two characters and the basis of distance between the characters and the camera.
Eisenstein states that, “The interaction between the two produces and determines the dynamic” (Eisenstein, 162). The “two” he is referring to is the following two ideas that stand at the intersection of nature and industry: “The logic of organic form [and] the logic of rational form produces in collision the dialectic of the art form” (Eisenstein, 162). The interaction between the two characters, the woman and the shark, determined the dynamic of the interaction. The angle of the camera represented the prey/predator dynamic in a non traditional view. The camera switches points of view so the audience can better experience the emotions that the woman is feeling. This ideal also includes Eisenstein’s statement that “the basis of distance determines the intensity of the tension” (Eisenstein, 162). In the sense of space-time, the physical distance between the two characters is exemplified through the use of the distance between the audience and the characters. The camera follows the woman closely, and goes underwater and resurfaces at the same time she does during the initial attack. We as the audience can feel the intensity of the tension when she is underwater fighting for air. The editing used in this scene creates a more personal viewpoint for the audience to experience so we can feel the same sense of urgency that the woman feels in this situation. We also see shots underwater underneath the woman as she swims away from the shark. By allowing the viewer to be put into the sharks perspective, a conflict is created. The conflict the audience’s experience is heightened after multiple perspectives are applied. When the audience is in the perspective of the shark, we feel intense foreshadowing and expect something to happen. The perspective is then shifted into the woman’s, and we see how close she is to safety on top of the whale. However, when the perspective is shifted back to underneath her in the water, the distance seems much longer, and the audience is conflicted on if she will make it to safety before the shark attacks again. Eisenstein says that, “art is always conflict: because of its social mission, because of its nature, and because of its methodology” (Eisenstein, 161).
Since Eisenstein believed that dialectical editing was the key to creating artful films, films were analyzed based on how well the creators succeeded in the the interaction of organic and rational form (nature vs. industry). In the shark attack scene from ‘The Shallows’, the interaction between the organic action of a shark attacking a human and the rational form of allowing the audience to become a part of this action creates strong conflict, intensity, and tension. By pushing the limits of organic naturalness as well as mechanic industrialism, the audience is able to experience multiple perspectives to become totally immersed into the scene and feel the organic conflict. However, they are also aware that this experience is only capable due to the film’s rational form. The scene is a combination of organic form and rational form. Eisenstein states that the collision of these two forms is the dialectic of the art form, and therefore produces art.
