This shot is the Sheriff's POV because he is clearly concentrating on the sea. Even though one might think that the Sheriff should be the focus of this shot, Steven Spielberg purposefully puts him on the right. The viewer, just like the Sheriff, always needs to see the sea in the background, which is made possible with this placement.
Even when a distraction is in the Sheriff's way, he keeps looking at the sea. In this close-up shot, Spielberg wants the audience to concentrate on the sea rather than the "distraction".
As the Sheriff is looking at the water, shots keep cutting to long and extreme long shots of the sea. In this one, we automatically concentrate on the boy far away from the shore. Spielberg makes us worry that the boy will become a victim of the shark attack.
After a series of shots in which the camera keeps switching from "false alarm attacks" back to the Sheriff's anxious face, we see a waist-up shot of a boy. He is looking for his dog that's nowhere to be found. The vastness of the sea hints at the fact that something happened to the dog. This, again, makes the audience worry that the actual shark attack is about to happen.
To emphasize the fact that the dog is, indeed, gone, Spielberg switches to a high angle shot of the log that the dog was playing with earlier.
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