Close Viewing

Shot 1- Mid shot, Waiter, Level angle, Zoom

Shot 2- Long shot, auditorium, Over the shoulder shot, No camera Movement

Shot 3- Mid shot, Corbin, Level angle, Zoom

Shot 4-  Long shot, stage, Level angle, No Camera Movement

Shot 5- Over the shoulder shot, Auditorium, Level angle, No Camera Movement

Shot 6- Mid shot, Plava La Guna, Level angle, Zoom

Shot 7- Close up, Corbin, Level Angle, No Camera Movement

Shot 8-  Mid shot, Plava La Guna, Level angle, No Camera Movement

Shot 9- Three shot, Audience, Ruby Rod’s Men, Level angle, No Camera Movement.

Shot 10- Two shot, Audience, Randoms, Level angle, Zoom

Shot 11- Mid shot, Plava La Guna, Low angle, Zoom

Shot 12- Over the shoulder shot, Auditorium, Level angle, Slight Zoom

Shot 13- Mid shot, Plava La Guna, Level angle, Tracking shot, Side view

Shot 14- Mid shot, Lelu, Level angle, No Camera Movement

Shot 15- Close up, Corbin, Level angle, No Camera Movement

Shot 16- Over the shoulder shot, Auditorium, Tracking shot,

Shot 17- Mid Shot, Plava La Guna, Static camera, Level angle, Side view

Shot 18- Two shot, Captain, Level angle, No Camera Movement.

Shot 19- Close up, Zorg, Low angle, No Camera Movement

Shot 20- Long shot, Floston Paradise and Zorg in spaceship, Over the shoulder shot, High angle, No Camera Movement

Shot 21- Mid shot, Plava La Guna, Low angle, Audience view, Zoom, Tilt

Shot 22- Close up, Alcohol, Tracking shot, Male assistant walking to the door

Shot 23- Mid shot, door opening, Mangalor with gun

Shot 24- Mid shot, gun pointing at male assistant, Over the shoulder shot, Mangalor perspective

Shot 25- Long shot, Female assistant, Zoom, Level angle

Shot 26- Long shot, Mangalors walking in door, Zoom, Level angle

Shot 27- Close up, Plava La Guna, Level angle, Side view

Shot 28- Mid shot, Female assistant being shot, Zoom, level angle

Shot 29- Mid shot, Plava La Guna, Zoom, Level angle

Shot 30- Mid Shot, Corbin, Over the shoulder shot, High angle, No Camera Movement, Plava La Guna Perspective

Shot 31- Mid shot, Mangalors, Level angle, Pan Movement

Shot 32- Long shot, Mangalors, Level angle, Pan Movement to Lelu hiding behind door watching

Shot 33- Close up, Mangalors, flash back, Level angle, No Camera movement.

Shot 34- Close up, Mangalor’s hand, Level angle, No Camera movement.

Shot 35- Long shot, Space ship crashing, Birds eye view angle, No Camera movement.

Shot 36- Close up, Lelu, Level angle, No Camera Movement

Shot 37- Mid shot, Mangalors, Tracking shot, Level angle

Shot 38- Close up, Mangalor approaches Plava La Guna’s Trunk, High angle, Zoom

Shot 39- Mid shot, Stone box in trunk, Level angle, No Camera movement.

Shot 40- Midshot, Mangalor takes stone box, Level angle, Slight camera movement

Shot 41- Mid shot, Plava La Guna, Low angle, Slight Zoom

Shot 42- Mid shot, Corbin, Over the shoulder shot, Zoom

Shot 43- Mid shot, Plava La Guna, Low angle, No Camera movement.

Shot 44- Close up, Corbin, High angle, Zoom, Plaba LaGuna perspective

Shot 45- Mid Shot, Plava La Guna, Low angle, No

Shot 46- Close up, Lelu, Level angle, No Camera movement.

Shot 47- Long shot, Auditorium, Zoom, Over the shoulder

Shot 48- Long shot, Door getting pushed open by Lelu and Mangalors, Zoom continues into next shot

Shot 49- Close up, Lelu and Mangalor, Over the shoulder from Mangalor, Level angle, Head but

Shot 50- Close up, Lelu’s leg, Level angle, Pan Movement

Shot 51- Long shot, Auditorium, Level angle, Static Shot, No Camera movement.

Shot 52- Mid shot, Lelu, Follow camera, Hand held camera, Handicam

Shot 53- Three shot, Mangalors, Low angle, No Camera movement.

Shot 54- Long shot, Lelu and Mangalors, Follow Camera, Handicam

Shot 55- Close up, Lelu’s leg, Low angle, No Camera movement

Shot 56- Mid shot, Lelu, Tracking shot, Level angle, Handicam

Shot 57- Close up, Lelu kicks Mangalor, Level angle

Shot 58- Close up, Lelu and Mangalor, Level angle, No camera movement

Shot 59- Long shot, Mangalor falling, Low angle, No Camera movement.

Shot 60- Close up, Plava La Guna, Zoom, Level angle

Shot 61- Long shot, Mangalor, Low angle, Slight Tilt.

Shot 62- Mid shot, Mangalor missing Lelu, Level angle, No camera movement

Shot 63- Mid shot, Mangalor missing Lelu, Level angle, No camera movement

Shot 64- Mid shot, Lelu fighting, Level angle, No Camera movement.

Shot 65- Mid shot, Lelu and Mangalor fight, Level angle, No Camera movement, Over the shoulder shot, Lelu perspective.

Shot 66- Mid shot, Lelu fighting, Level angle, No Camera movement, Over the shoulder, Mangalor perspective.

Shot 67- Mid Shot, Mangalor, Level angle, No Camera movement

Shot 68- Mid Shot, Plava La Guna, Side view, Level angle, Slight Camera Movement.

Shot 69- Mid shot, Lelu, Mangalor perspective, level angle, No Camera movement.

Shot 70- Long shot, Lelu kicking and Mangalor falling backwards, Level angle, No Camera movement.

Shot 71- Mid shot, Lelu back punch, Level angle, No Camera movement.

Shot 72- Close up, Mangalor, Low angle, No Camera movement.

Shot 73- Long shot, Mangalor flying out of the room, Level angle, No Camera movement.

Shot 74- Mid shot, Mangalor, Low angle, Tracking shot

Shot 75- Mid shot, Plava La Guna, Side view, Level angle, Tracking shot

Shot 76- Long Shot, Mangalor flying, Level angle, Tilt

Shot 77- Mid shot, Lelu, Level angle, Handicam, Mangalor with sword perspective

Shot 78- Mid shot, Mangalor with weapon, Over the shoulder shot, Lelu perspective, Level angle, No camera Movement

Shot 79- Mid shot, Mangalor, Level angle, Zoom

Shot 80- Mid shot, Flying Mangalor to Lelu, Level angle, Tilt,

Shot 81- Mid shot, Mangalor and Trunk, level angle, Side view, Tilt

Shot 82- Mid shot, Lelu, Level angle, No camera movement.

Shot 83- Mid shot, Mangalor with gun, Level angle, No camera Movement

Shot 84- Mid shot, Mangalor’s gun, Tracking shot, Handicam,

Shot 85- Mid shot, Lelu flying across the room, Tracking shot, Level angle, Side angle

Shot 86- Mid shot, Lelu back handspring, Tilt, Low angle

Shot 87- Long shot, Lelu backhandspring, Low angle, following/tracking shot, Zoom

Shot 88- Mid shot, Plava La Guna Dancing, Level angle, No camera Movement

Shot 89- Long shot, Lelu backhandspring, High angle, No camera movement

Shot 90- Mid shot, Plava La Guna dancing, Level angle, No camera movement

Shot 91- Long shot, Lelu backhandspring, High angle, Tilt

Shot 92- Mid shot, Lelu backhandspring, Level angle, Zoom

Shot 93- Mid shot, Plava La Guna, Level angle, Side view, Slight camera movement (tracking shot/zoom)

Shot 94- Mid shot, Mangalor, Low angle, No camera movement

Shot 95- Mid shot, Lelu, Level angle, No camera movement Shot 96: Plava La Guna

Shot 96- Mid shot, Mangalor, Low angle, No camera movement

Shot 97- Mid shot, Plava La Guna, Level angle, Side view, No camera movement

Shot 98- Long shot, Mangalor running, Level angle, No camera movement

Shot 99- Mid shot, Plava La Guna, Side view, Level angle, No camera movement

Shot 100- Mid shot, Lelu punching Mangalor, Level angle, No camera movement

Shot 101- Mid shot, Lelu punches Mangalor, Over the shoulder shot, Lelu perspective, Tilt.

Shot 102- Three shot, Mangalors, Zoom, Low angle,

Shot 103- Mid shot, Lelu and Mangalor fighting, Over the shoulder shot, Lelu perspective, Level angle, No camera movement

Shot 104- Three shot, Lelu and two Mangalors, Level angle, No camera movement, over the shoulder shot, Mangalor perspective

Shot 105- Mid shot, Mangalor, Over the shoulder shot, Lelu perspective, Level angle, No camera movement

Shot 106- Three shot, Lelu and two Mangalors, Level angle, Over the shoulder shot, Mangalor perspective, Handicam, Slight camera movement

Shot 107- Mid shot, Plava La Guna, Side view, Level angle, No camera movement

Shot 108- Mid shot, Lelu Bowing, Low angle, No camera movement

Shot 109- Mid shot, Plava La Guna Bowing, Over the shoulder shot, Level angle, No camera movement 

Future Dystopia Writing

The skyscrapers, which normally are full of purpose, are now dull and lifeless. Above me, I can only see as far as the building tops, as the gloomy fog covers this city like a blanket. I feel nothing but loneliness as I stroll these abandoned streets. The empty roads and dark skies are the only things I can relate to at the moment. Surrounded by fog I can see some of it is coming from a burning building. Normally I would freak out over this, but over these past few days, this is the new normal. This strange noise keeps re-occurring and echoing through this lifeless city and in my mind, I know that whatever it is they were the ones who destroyed my home.

Finding my vision I peer through the fog finding the thing I have been searching for this whole time, my apartment. I stumble into the familiar heavy doors although don’t smell the sweet vanilla smell that I remember. This new sense is harsh and reminds me of the bad rubbish smell, times ten. This smell is so strong something almost feels off or awfully close. My heart rate increases just thinking of what it could be. The floor is creaking as I make my way quietly to my room. Above me, a loud screech fills my ears. Forgetting about the noises, I search through the whole apartment trying to find something to fill my rumbling stomach. Nothing. I now wish I wasn’t so lazy and didn’t order takeaways every night. Thuds surround me causing goosebumps to cover me from head to toe and forcing me to enter back into reality. Above, behind, below, these ginormous footsteps feel like they are coming from every direction. Trying to pull myself together, I start thinking of possible plans. Even though I am still not certain how close this beast is, I definitely know it is way to close for my liking. My mind is stumbling for ideas, the pressure is getting to me as this is literally a life or death situation.

Overthinking the situation I eventually decide to just go for it. I know this concrete jungle like the back of my hand, therefore deciding to make my way to my favourite coffee shop. I pray that there is food here otherwise I don’t know how much longer I can survive. I exit the apartment quietly, grabbing a knife on the way out. Tiptoeing down the stairs and into the lobby a sigh of relief hits me. Above me a large green goo is dangling from the top of the building where the luxurious chandelier normally hangs. Exiting the building I realize this is probably the last time I will see it. It’s hard to process this and think of all the memories from this one building. Taking my last glance at what was once my home, it starts to creak very loud. I don’t take much notice and continue my brave journey to the coffee shop. I let my mind wander, forgetting about the devastation over these past few days. Thinking about what it was like before this science experiment was leaked into the world. Before I can get another thought into my head a massive loud screech fills the emptiness of this city. Panicking I dip into the nearest ally way. As I look back tracing where I had just come from, I experience my apartment collapse. Gone. Now it is only a pile of concrete on the ground. I can’t let this get to me. I stumble back onto the path, tears rolling down my face like a waterfall. I try to keep going, but I just can’t. Dropping to the ground my heart sinks. This is it. Normally I would never give up, but I have lost all hope. How am I, a 16 year old girl, supposed to defeat a dragon.

Dystopia Writing – Future Sport

When my feet hit this new territory, I now realize my status. Surrounded by famous athletes and their coaches makes me feel intimidated, although I know what I’m about to do. Towering overtop of me stand the tall gates to enter the village. With my heart pounding and hands shaking, it looks suspicious and I can’t believe I’ve made it this far. As I make my way to the dressing room, I feel the nerves kick in more and can’t wait till this is over with. Overhearing everyone talk about how long they have been preparing for this makes me feel guilty, but this is the future of the Olympics and I am just starting it.

Infront of me lies this fancy dressing room, which smells like a new car. I can’t hear anyone near me, and there isn’t a window in here so I knew this was a perfect time. Behind me, the door is still wide open, as I look to close it I make sure no one sees me. I reach into my bag and open the secret compartment which luckily passed through the security unharmed. Before I do this I think back to what my coach said to me, Do I feel bad for doing this?

 

 

 

The buildings stood abandoned
The street looked very lonely
The buildings, which looked very lonely, stood abandoned

 

The man strolled the empty streets
The man saw only abandoned buildings
The man feels nothing but loneliness
The man, who felt nothing but loneliness, strolled the empty streets.

 

 

Prepositions:

Beyond the gate, lies a dull, gloomy factory blocking my view. Below where the river lays, rustic boats stay still like they have been forgotten. Above the giant grey concrete building, the sky is glim, and I can’t even hear the chirp of one bird. Surrounding me is nothing but this factory, which feels like it is just staring at me as it awaits my arrival. The workers who are guarding this building I am about to enter, have serious faces that look glued in that position. Continuing past these peasants their large dogs growl at my appearance, although it doesn’t bother me.

Write 5 lines

Key events that happen in the morning:

  1. Someone wakes me up – I hear a voice call my name.
  2. Munch on some breakfast – I smell the granola as I open the packet.
  3. Get changed – I feel my itchy kilt hit my legs.
  4. Brush my teeth – I can taste the fresh mint overtake my mouth.
  5. Pack bag – I see my computer that I almost forget to pack.

Fate Essay

Shakespeare develops fate all throughout his storyline in Romeo and Juliet. William Shakespeare does this by having series of events that happen without the characters control. Set in Shakespearean time, fate was thought to lead peoples lives. The idea of fate is “the development of events outside a person’s control, regarded as predetermined by a supernatural power”. There are several ways Shakespeare carried out fate in which being, the plot, prologue, dramatic irony, and metaphors. Fate works alongside many writing strategies and is conveyed throughout the whole of Romeo and Juliet.

 

The idea of fate in Romeo and Juliet is conveyed by Shakespeare in a series of events that coincidence occurs in. In Shakespearian time, society identified fate as Gods will. Because of this when a coincidence arises they believe that these are Gods intentions. We first see this in Romeo and Juliet when Capulets servant runs into Romeo and Benvolio, the servant cannot read so he asks these two boys to help him read the guest list to the party, where Romeo and Juliet are to meet and fall in love. The servant states “If you be not of the house of Montagues, I pray come and crush a cup of wine”. Shakespeare has also used coincidence to convey fate when Romeo drinks a poison which will end his life because he never got the news about Juliets fake death as he lay there dead Friar Lawrence came running in to find Romeo dead and Juliet just waking up but it was too late. Friar quoted “Saint Francis be my speed! How oft tonight have my old feet stumbled at graves!”. These coincidences influence events in the story that Romeo and Juliets fate was to meet, fall in love and could not be prevented from killing themselves. Many other features work alongside the plot in Romeo and Juliet to underline the requirement of the death of the two children and their families compromise.

 

Fate creates a powerful effect all throughout Romeo and Juliet, beginning in the prologue. The prologue starts the whole playoff, explaining almost exactly everything bound to happen. “A pair of star-cross’d lovers take their life” is a line in the prologue, which implies battling against the stars. In Elizabethan England, your destiny was thought to be influenced by the stars. When Romeo exclaims that “Then I defy you, stars!” he is stating that he is not going to pay attention to what the stars are informing and he will continuously love Juliet, therefore not listening to his destiny. The prologue is significant to the story for it creates a sense of fate by providing the audience with knowledge at the start of the play. For instance when “A pair of star-cross’d lovers take their life” is used, and automatically it forms expectations for later on in the tale. The prologue impacts the assumptions made on the story and confirms the fate set to be throughout the storyline.

 

Consistently throughout Romeo and Juliet Shakespeare accounts metaphors. Metaphors create an image in the readers mind. In this case, Shakespeare is using metaphors to create an image of fate, which is where something is destined to happen. Mostly metaphors throughout Romeo and Juliet have been focused around the start of the play. Including the words of Juliet which declare, “This bud of love, by summers ripening breathe, may prove a beauteous flower when we meet next”. The bud of a flower is undeveloped and yet to grow, claiming that this is what the relationship between Juliet and Romeo is. This statement is also referring to their relationship to be in fates hands, or letting fate control their path. Yet another example of Shakespeares metaphors leading to fate is when Romeo exclaims that “But he that hath the steerage of my course, direct my sail”. In this scene, Romeo was weary and unsure what his future would hold because of his dreams. Romeo, Benvolio, and Mercutio were heading to the Capulets party when Romeo started doubting and had one last concern: he includes a feeling that the night’s activities can set in motion the action of fate, leading to untimely death. Ultimately Shakespeare includes fate in may of his metaphors. Metaphors are only one of many features that carry fate throughout Romeo and Juliet.

 

Shakespeare explores fate in multiple ways and one being dramatic irony. Dramatic irony creates suspense, tension, and empathy. When Shakespeare uses dramatic irony to convey fate, the audience knows something before the characters. When the characters don’t know these things that the audience knows they believe it to be fate or their destiny, informing that God had meant for this to happen. The whole storyline of Romeo and Juliet is based on dramatic irony, this being how Romeo and Juliet are married but no one at all knows (apart from Friar Lawrence). An example of how fate was held during dramatic irony is when Juliet is on her balcony considering her love for Romeo as she says, “O Romeo, Romeo! Wherefore art thou Romeo? Deny thy father and refuse thy name. Or, if thou wilt not, be but sworn my love, And ill no longer be a Capulet”. When this scene occurred Juliet did not know, yet the audience did, Romeo was underneath the balcony. Fate lies into this scene for if Romeo did not here this thought of Juliets they may not have ended up together. Dramatic irony creates suspense and conveys fate through that suspense.

To conclude William Shakespeare conveyed fate throughout the whole story of Romeo and Juliet. The idea of fate was carried out by a variety of writing techniques including metaphors, dramatic irony, the plot and the prologue. Humans cannot decide whether our lives are controlled by fate today, although Shakespeare has shown us that it can be. 

Semantic Field

A semantic field is a technique often used by writers to try keep a certain image perpetual in the readers mind. Shakespeare uses this technique throughout Romeo and Juliet by referring to different pictures that he wants to keep fresh in the readers head. An example of this is how he would refer to God a lot throughout the script, this kept the message that they were religious in out minds.