Search results for 'tag:Difference between tag:Numbers' matching tags 'Difference between' and 'Numbers'

Re: Please help me to check English grammar

Anonymous — Fri, 10 Oct 2008 02:27:18 GMT

Hello,

I updated my text. The new version of the text:

Thanks!

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Report Proposal

Topic D: Weather Forecasts

Step 1

Before we do data analysis in this report we have to be certain we understand the questions we need to answer. Two recommended questions are provided in the reportâs instructions.

There are several issues needed to be addressed first before answering the questions.

We need some data for this analysis. We need to know how we are going to collect the data, for which regions we are going to collect it and who the authority on providing accurate daily temperature forecasts is. Also we need to know what is the population on which we going to project our inferences, if we are going to collect the data ourselves or use the data collected by another source. Whether or not data samples can be selected randomly from the population, what samplesâ sizes we are going to use and if independent data samples can be obtained. So we need to design an experiment to collect the data making sure itâs accurate, relevant and does not violate any of the assumptions in our analysis.

The first question we are going to answer in the report states that we need to determine if forecast maximum daily temperatures significantly different from true maximum temperatures. How do we determine what difference between these temperatures is significant? Do we use a conservative approach or a larger difference in temperatures is acceptable for this analysis? Similarly, we need to decide on level of significance to use in our hypothesis tests.

Once accurate and relevant data samples are collected and the calculations are carried out we then need to interpret our findings and draw a conclusion. The following issues need to be considered: can we use our findings for the future temperature forecasts in the two regions? For immediate future only e.g. for the next 10 years? Can we assume our findings are applicable to the period when temperature forecasts were at an early stage in the two regions of interest?

Furthermore, if it is found that the proportions of correct forecast temperatures differ for the two regions significantly then what do we do next? We assume this fact or do we investigate further to determine the cause for this difference?

Step 2

In this hypothesis test I will use conservative measure with the average of differences of 2 degrees Celsius or more (â¥2) between forecast maximum daily temperatures and true maximum temperatures to be considered significantly different.

In hypothesis test I am going to use 5% significance level to determine wether the average of differences between forecast maximum daily temperatures and true daily maximum temperatures recorded for each region is significantly different.

Assume the average of differences between the temperatures is equal to or less than 2 degrees in Celsius.

H₀:Î¼â¤ 2

H₁:Î¼ > 2

Î¼ is the average of differences between forecast maximum daily temperatures and true daily maximum temperatures recorded for each region.

To determine if proportions of correct forecast temperatures (to within 1 degree Celsius) are the same for the two regions I will use the following hypothesis test:

H₀:Ï₁= Ï₂ => H₀: Ï₁- Ï₂ = 0

H₁: Ï₁â Ï₂ => H₁: Ï₁- Ï₂ â 0

Ï is proportion of the population of correct forecast temperatures to within 1 degree Celsius.

Also I will calculate 99% confidence intervals for the average of differences between forecast maximum daily temperatures and true daily maximum temperatures recorded for each region.

The assumptions for the hypothesis tests are:

Two data samples are randomly selected;

Two data samples are independent. Two sets of data were produced by two different meteorological stations for two different regions;

Two sampling distributions of the means for temperature differences are approximately normally distributed. By Central Limit Theorem this condition will be met if the samplesâ sizes are sufficiently large (n â¥ 30). Our samplesâ sizes will be at least 30.

Step 3

In this report I will use data I have obtained from the Australian Bureau of Meteorology. The Bureau keeps archives of historical data on climate statistics for various locations around Australia and provides it to the public on request.

In Australia there are regional meteorological stations responsible for reporting weather forecasts for their respective regions. I obtained the data for Adelaide metropolitan area produced by Kent Town meteorological station (station number: 23090) and for Perth metropolitan area produced by Perth East meteorological station (station number: 9225) for the period of 01/01/2006 - 24/07/2008.

The two meteorological stations forecast highest and lowest temperatures for the next 3 days each day and update their weather forecast reports several times during 24 hours. The latest weather forecast update for the day is done in late afternoon or during evening. In this report I will use latest updates on weather forecasts released by the meteorological stations during the days for the following days. In doing so I will ensure that the latest, most accurate and consistent temperature forecast readings are used in our data analysis.

I have also obtained a file of historical records on the actual highest and lowest temperatures recorded in Adelaide metropolitan and Perth metropolitan areas for the period of 01/01/2006 - 25/07/2008. In total there are 937 temperature records for each region.

I used random generator to randomly select 30 dates from the period of 01/01/2006 - 24/07/2008 for each region separately. I then, for each region, selected a pair of temperature records from the two data sets for each randomly selected date: the maximum temperature recorded on a selected day and the maximum forecast temperature on the previous date during the evening of the selected date. Once random pairs of records for each region are determined then I calculated the differences between the temperaturesâ pairs taking absolute magnitude of each value to account for the negative differences e.g. when forecast temperature is underestimated. Finally, I assorted the list of differences in ascending order.

The archive of files of raw data I obtained from the Australian Bureau of Meteorology is located at

http://www.spunge.org/~alexg/008_markin.zip

Data of randomly selected dates and computed differences between the temperatures for the dates is located at

http://www.spunge.org/~alexg/data_forecast.xls

Step 4

I will use MS Excel 2003 to carry out necessary calculations once two data samples are randomly selected and presented in appropriate form for statistical analysis.

For hypothesis tests and for 99% confidence intervals I will use PHStat2 package (add-in for Excel) which comes with various statistical functions and procedures producing quality outputs. A free version of the package can be obtained from http://www.prenhall.com/phstat/

The assumptions for hypothesis tests I have described above which are:

Two data samples are randomly selected;

Two data samples are independent. Two sets of data were produced by two different meteorological stations for two different regions;

The two sampling distributions of the means for temperature differences are approximately normally distributed. By Central Limit Theorem this condition will be met if the samplesâ sizes are sufficiently large (n â¥ 30).

In this analysis the population is all available forecast temperatures ever produced by the two meteorological stations for the two regions. A large sample of 937 temperature records I obtained is not really entire population. However, knowledge and expertise as well technological advances in meteorology have changed significantly in the last 30-40 years. This factor has to be taken into account and probably only a subset of the entire population e.g. all forecast temperatures reports produced in the last 10 years for the two regions would be more appropriate for our analysis. As these forecasts are more accurate and consistent for the current period of time.

Re: Was or Were?

innamuris — Thu, 09 Oct 2008 14:24:05 GMT

'a number of people' is considered plural. so we say 'a number of people are..'

Re: the difference between will and would

Mister Micawber — Sun, 05 Oct 2008 12:20:31 GMT

.
Will you check this resource number for me? -- Fine with co-workers.
Would you check this resource number for me?-- More polite.

Re: the difference between will and would

Anonymous — Sat, 04 Oct 2008 19:08:58 GMT

So will are would could be used in that sentence. And if i said will you check this resource number for me, should i have used would are will.

Re: When

Clive — Wed, 01 Oct 2008 21:14:06 GMT

Hi,

1.Can 'as' mean 'at the time that'? Generally speaking, no, It conveys the idea more that two actions were happening at the same time, ie the idea of 'while'.
For example,
When/As I got up this morning, the birds were singing.
Is 'as' fine here? Yes, but it's like 'while', two things happening together.

2.He talks on the phone as he is driving.
Can I use 'when' here? Yes.
Does it mean 'at the time that'? My dictionary says 'during or at the time that'. To me, the 'during' aspect is strioneger, ie two things at the same time.

3.While Mary was getting in a taxi, her boyfriend wrote down the licence plate number.
Can I use 'as' here instead of 'while'? Yes. But 'while' is more common, particularly in speech.

4.The old man clenched the railings tightly as he walked up the steps.
(1)Do the two actions happen at the same time? Yes.
(2)Can I use 'when' or 'while' instead of 'as' here? Yes. I'd favour 'while' although we often interchange 'while' and 'when'.
,(3)Can I use 'as he was walking'? Yes, definitely.
(4)What is the difference between
'as he walked' and 'as he was walking'? The latter emphasizes the length of the action (of walking) more.

Clive

Re: When

Anonymous — Wed, 01 Oct 2008 20:38:03 GMT

Hi Clive,
Thank you very much for your explanation by giving your examples.

1.Can 'as' mean 'at the time that'? For example,
When/As I got up this morning, the birds were singing.
Is 'as' fine here?

2.He talks on the phone as he is driving.
Can I use 'when' here? Does it mean 'at the time that'?

3.While Mary was getting in a taxi, her boyfriend wrote down the icence plate number.
Can I use 'as' here instead of 'while'?

4.The old man clenched the railings tightly as he walked up the steps.
(1)Do the two actions happen at the same time?
(2)Can I use 'when' or 'while' instead of 'as' here?
(3)Can I use 'as he was walking'?
(4)What is the difference between
'as he walked' and 'as he was walking'?

Thanks a lot.

Re: tenses on questions

Anonymous — Fri, 19 Sep 2008 01:00:04 GMT

Thank you. I think the phrase 'up for grabs' with the 's' means "up (open) for anyone to take."

Why did Clive use 'cost' rather than 'costs' here?

2. Joe went into a store and bought a candy that cost one dollar and a chocolate bar that cost one dollar and ten cents. How much did he have to pay to the cashier?

What is the difference between this and the number one sentence with your correction?

1. The shirt, which costs five dollars, is up for grabs. Do you know what "up for grabs" means?

Re: make/get/have

CalifJim — Wed, 10 Sep 2008 19:30:45 GMT

1.What is the difference in meaning between the three sentences?
(1)I got him to help me when I moved the furniture.
(2)I had him help me when I moved the furniture.
(3) I had him helping me when I moved the furniture.

(1) and (2) are basically the same. But got (1) implies something more like persuading. had (2) implies something more like ordering, more like arranging for something to be done..

(1) focuses more on calling upon someone for assistance -- asking someone to help, and obtaining their consent.

(2) focuses more on how you solved the problem of moving the furniture. You arranged for someone to help.

(3) is not possible. helping takes place a number of times over a period of time. It involves different acts of helping from time to time. when I moved the furniture, on the other hand, only happened once. So you can't combine the two; they contradict one another.

2.Do 'get' and 'have' both mean either I cleaned it myself or I asked someone else to do it here? Does 'made' work here?
(1)I got the house cleaned.
(2)I had the house cleaned.

(1) means either: I successfully finished cleaning the house. (I did it myself).

or: I successfully persuaded (or asked or hired) someone else to clean the house, and they did it.

(2) means either: I hired (or ordered) someone else to clean the house, and they did it.

or: The house was clean because I had cleaned it myself earlier.

or: The house was clean because someone had cleaned it earlier.

___

made the house cleaned does not work. No. Generally speaking, make doesn't work with past participles like cleaned, though there are exceptions.

You can't say make the furniture polished, make the house painted, make the window opened, and similar combinations.

3."I made the house more secure by putting locks on the windows."
Does 'made' mean I did it myself? Yes. Actually, not just made. I made and the absence of any mention of anyone else means I did it myself.

I can say, however, I made the house more secure by having Acme Burglar Alarm Company install a burglar alarm. What I did myself is call the company. I did not install the alarm myself.

4."I'll have/get the car ready soon."
Do 'have' and 'get' mean either I'll fix it myself or I'll ask someone else to do it ?

Yes, but most people would interpret get only as 'I myself will do it'. have can easily go either way.

5.Are all the sentences correct? What is the difference among them?
(1)He got the radio going again .
(2)He got the radio to go again.
(3)He had the radio go again.
(4)He had the radio going again.

(1) and (2) have the same meaning. (1) is the usual way of saying it. It means he fixed the radio. (2) is not as usual because it could seem as if he talked to the radio to try to persuade it to go again.

(3) is strange. It seems as if he ordered the radio to do something. It's grammatical, but it makes no sense.

(4) The radio was going again. It was in working condition again. That's because he fixed it.

6."Within minutes he had the whole audience laughing and clapping."
(1)Do you mean he had the whole audience laughing and clapping without his attempts to do so? He did things for a short period of time which resulted in the fact that the audience was laughing and clapping. He may have wanted them to laugh and clap; he may not have wanted that. But most likely he did want them to laugh and clap.
(2)Does the sentence below work? No. It doesn't work very well.
"Within minutes he had the whole audience laugh and clap."
What does it mean? It means: Before much time had passed, he said to the audience, "Laugh! Clap!" And they obeyed him.

7."Soon Lucy had the kitten eating out of her hand"
What does 'eating out of her hand' mean here? Lucy put food in her hand. The kitten ate the food that was in Lucy's hand.

8.I'll have it down .... = I will successfully arrange things so that the cat will be down from the tree. (It doesn't say whether he's going to do it, or someone else that he asks or orders to do it.)

Do you mean here that he may do it himself or ask someone else to do it, both are possible in the example? Yes. Exactly.

If I use 'get it down.. instead, does it mean either he does it himself or asks someone else to do it? Yes, it can mean he himself or someone else, but most people interpret I'll get ... to mean I myself will get ... in most situations.

9.What is the difference between the two sentences?
(1)He had me do all the work for him.
(2)He had me doing all the work for him.

(1) He ordered me to do all the work for him, and I did it. This happened once.

(2) He arranged the situation so that whenever there was work to do, he ordered me to do it, and I did it. This continued to happen over a period of time. It became a habit.

Re: 1) What is the difference between splatter and patter?

Anonymous — Tue, 12 Aug 2008 13:48:00 GMT

Hello,

1. I have no idea
2. Could you please check my essay.
3. Judge is the person that holds the hammer, the jury consists of a number of people living in the country that have to listen to the entire trial and then say whether they think the person is guilty or not. During the trial, the judge tries to see that everybody works within the laws, then at the end he says whether the jury found that person guilty or not.
4. No idea.
5. a lively character means that a person is quite a lively person. It's what people notice. A lively personality is within yourself. Difficult to explain.

Regards

how does hitchcock create suspense and shock?

Anonymous — Fri, 01 Aug 2008 15:41:52 GMT

HELLO! CAN YOU PLEASE CHECK MY ESSAY ACCORDING TO SEA PARAGRAPHS (sTATEMENT, eVIDENCE, aNALYSE)?

âHow does Hitchcock create Suspense and shock?â

Alfred Hitchcock is known as the âmaster of suspenseâ and a great innovator. He has three films in the Top Ten of the American Film Instituteâs top thrilling films. âPsychoâ, made in the year 1960, was number one. Hitchcock always uses suspense and tension to shock his audience. He does this by using cinematography very well by the way he uses the camera position, angles, movement and shots. He also uses scary music and lighting when he wants to shock his audience or create suspense.

Hitchcock misleads his audience to create shock in âPsychoâ. At the beginning of the film, we see Marion Crane and Sam Loomis in the bedroom together. By seeing this, we think this is a love and romance story. After Marion steals the money from her boss, we then believe the genre of the film is about crime. However, the genre of this film is not about romance or even crime. In fact, this movie is a thriller and the main character, Marion, dies a third way through the film. This is unexpected because she is the main character of the film and not a bad person. Another shock is when we discover that Norman Bates dresses like his âmotherâ in womenâs clothing, which the audience finds strange and weird.

False suspense makes shocks more shocking because we never know what will happen. Hitchcock creates false suspense in a number of ways. When Marion has been sleeping in the side of the road in her car, a cop comes and wakes her up. The audience feels tense and wonders if she is going to get caught with the $40,000. Marion is very nervous and we are afraid if the cop is going to search her bag. Her uneasy behaviour adds to the tension. The copâs sunglasses also add to the tension because he is staring right at Marionâs face, and Marion feels guilty and anxious.

Another moment of tension is when the cop follows Marion. We think that he realises that Marion is up to something. There is a slight low angle close up of the copâs car in the rear-view mirror of Marionâs car where she nervously watches him following her. The eyelevel medium shot of the car in the rear-view mirror, allows you to see him following, which is a reflection of the copâs car. Hitchcock builds tension by cutting between Marion and the cop.

Hitchcock also creates false suspense when Marion goes to a second-hand car dealer. The cop has an eye on Marion, but she does not know that he is there. We do see the cop so there is a moment of tension. She is doing things that you will not usually expect, such as being panicky and in a rush, which all builds to tension. While the mechanic pulls her car in to inspect it before selling her a different car, she is shocked when she spots the suspicious cop. Although she is aware that the new car she will be buying could be identified, Marion quickly and foolishly decides to buy it. Her nervous behaviour makes the surprised, car dealer wonder why she is forcing him to sell the car to her. She nearly leaves her bag behind, which is a false shock. We expect that Marion is going to be stopped by the cop, but luckily, she does not get caught with the cash.

Another false shock is when, Lila, Marionâs sister, screams when she sees her own reflection in the mirror in âmotherâsâ bedroom. She screams when she sees herself in many reflections in an opposite long mirror, but is relieved that the frightening image is only of herself.

You can only have a limited number of shocking moments to shock people because the few shocks give more impact. If there are too many shocks, then the audience gets used to it.

There are only three shocks in âPsychoâ: when Marion is killed in the shower; Milton Arbogast, the detective is stabbed by âmotherâ; and the discovery of âmotherâ by Lila. Hitchcock creates suspense and shock when Arbogast tries to interview âmotherâ. He quietly enters the front door of the house, takes off his hat, and then stands for a moment in the hallway. He begins to climb up the long steep staircase to the second floor. We feel a bit tense and afraid that something may happen to Arbogast because he is inside a sinister-looking house on top of a hill. Using a tracking shot, the camera follows him from behind to a tracking, high-angled shot in front of him as he climbs up the stairs so he looks vulnerable and small. A cut to the top landing, using an eyelevel close up shot to show a crack of light appear on the floor through the slowly opening door of a bedroom, creates tension as if âmotherâ is behind the door who will see Arbogast and attack him. When he reaches the top step, Hitchcock cuts to a birds-eye-view shot and the high-pitched, screeching music starts to create a shock when Arbogast is attacked at the top of the stairs, in a bird's-eye-view shot, by âmotherâ coming from the bedroom. He is stabbed to death in the face and blood flows out of his face when Arbogast falls backwards down the stairs to the floor. âMotherâ chases after him and gets on top of him; the knife goes up into the air for another strike before the scene fades to black. However, this is not the first shock of the film.

In the shower scene, we experience the first big shock in âPsychoâ. At the start of the shower scene the audience follows Marion into the bathroom. We see her undressing to have a shower. It is very quiet and we can just hear her taking off her gown. The shot is an eyelevel medium close up which makes us feel uncomfortable because we are close behind a naked woman and following her, which seems like we are intruding into this private space. We are looking straight at Marionâs bare back and upper body which makes us feel like Norman, when he was watching her undress through a hole in the wall. Like Norman, we are voyeurs and are intruding into this private space. Hitchcock then cuts to an eyelevel medium close up of Marion in the shower and we watch her cleansing and washing herself, like she is washing away her sins and guilt. We notice that Marion is very relaxed and happy because she is going back to Phoenix to pay back the money she has stolen. Hitchcock cuts to a low angle close up from Marionâs point of view of the water which looks like it is coming down at us, straight and sharp from the shower head which creates a moment of tension because, at the moment we cannot hear anything except for the running water, and this may distract us and Marion if someone is nearby. However, Hitchcock then cuts to an eyelevel medium close up in which we see Marion rinsing herself. This is a realistic shot because the camera is on the bathroom floor on the side of the shower watching Marion and we can see her calm facial expression, so we relax as well as Marion. We think nothing bad is going to happen to her because no one else is in her room and the bathroom and everything seems quiet except for the running water. This is also a private hotel.

Hitchcock then creates suspense by using dramatic irony. He uses an eyelevel medium long shot in which there is a dark shadow on the left, or dominant, side of the screen. Marion is in a completely private place, but in this shot we know that there is someone behind her, while Marion does not. The camera is in front of her, placed inside the wall, and Hitchcock makes us feel uncomfortable and tight as if we are trapped in the shower with Marion. As she is showering, through the translucent shower curtain, we see the door open. With her back to the shower curtain, we can spot a shadowy figure coming from behind. Marion does not hear the killer because of the water falling on her and her hair is soaked by the water so she appears to be small and vulnerable on the right side of the screen with her back to the shower curtain. We see the bathroom door open and we spot a shadowy figure coming from behind. We feel tense because the figure may harm Marion. The shock comes when the dark figure suddenly tears the shower curtain and shrill high-pitched music begins from sharp shrieking, violin strings. The shrill music plays a large part in creating absolute terror as does the silhouette of the figure that is revealed because the face is shadowed and we cannot see it. The killer is on the left or dominant side of the shot and is very dark; light can only be seen on the right side. The killer is holding a knife towards the right bottom corner of the frame where we last saw Marion, so we feel tense and terrified for her.

The shock continues with a close up of Marion screaming. The blurring of the image by the water makes Marion appear less human and everything happens fast. The close up shows her first reaction to the murderer and to intensify this Hitchcock cuts to an extreme close up of Marionâs mouth as she is screaming loudly. Next, Hitchcock uses a low angle medium shot of the killer who is dominating the centre of the screen. Hitchcock uses shadow to make the killer appear dark and horrific. The killer then starts to attack and we hear sound effects of stabbing. In reality, the sound was made by stabbing a melon. Hitchcock then cuts to a high angle medium shot of Marion to make her look weak and vulnerable. She is in one corner of the frame and the knife is in the space. The knife is blurry because it is moving very fast and Marion is in the corner backing away. The tile wall is trapping her behind and she is very exposed. The attack goes on and on and we keep hearing stabbing sounds of the knife. Hitchcock then uses a high angle close up of Marionâs feet so we can see the blood being washed away from Marionâs body, which creates the impression that Marion is dying because she is losing large amounts of blood and looking very weak. The killer leaves and Marion slowly dies. Hitchcock uses an eyelevel close up of Marionâs hand trying to hold on to the tile wall. She is trying to hold on to her life. This is the aftermath of the shock but there is still tension because there is nothing we can do and slow and low-pitched music starts to create a sad atmosphere.

Marion slowly slides down with her back against the wet, slippery shower wall, while looking up and the camera follows her slow fall. We feel guilty because we are unable to help. We then see Marion stretch her hand out to grab the shower curtain but it comes across as if she is stretching her arms towards us, for help. We want to help Marion but it is impossible so we must just watch her fall so we feel powerless. Then Hitchcock cuts to a birdâs-eye-shot where the shower pole divides the screen in half, which seems like we are directly watching what is happening down in the bathroom. Marion holds onto the shower curtain and pulls it down from its hooks one by one onto herself, which is a diegetic sound and now the slow and low music stops. Then we can just hear the water running from the shower, which tells us that the attack is over and Marion falls to the floor, dead. After that, Hitchcock cuts to a high angle extreme close up of the dark plughole, which is sucking up the water and Marionâs blood which suggests that Marion's life has gone down the drain. The shot dissolves to an extreme close up of Marionâs eye where we can see drops of water which seem like she is crying, which creates an atmosphere of sadness. There is great difference between Norman's 'peeping tom' eye and Marion's dead eye because Marionâs eye looks completely innocent, but Norman was using his peeping eye to watch her undress. Then the camera zooms out to her upper body which becomes a tracking shot where the camera turns and tilts as if we are standing up. We feel sorry and very guilty for Marionâs death as we were unable to stop this terrible attack, so when we leave the bathroom we are basically leaving Marion.

In comparison, in âThe Birdsâ, Hitchcock uses several shocks, perhaps maybe ten or more. Some of them are shocks with no suspense such as when the gull pecks Melanieâs head; the attack by the birds at the childrenâs party; and when the sparrows come down the chimney and attack Mitchâs house. There are also shocks with suspense: the school attack; when Annie is dead; the gulls peck the farmerâs eyes; the petrol station scene; the attack on Melanie in the attic and the huge number of still birds at the end of the film. He does this to shock his audience again and again.

Hitchcock also creates dramatic irony and tension in âPsychoâ when we see the shadow of âmotherâ in the shower scene. Hitchcock also creates dramatic irony in âThe Birdsâ in the climbing frame scene. Here, we see Melanie smoking outside the school, sitting on a bench in a medium long shot. She is calm. There is a long shot of the school and an establishing shot of birds in the sky. We can hear children singing, which sounds normal. There is then a cut to a medium long shot left of the climbing frame behind Melanieâs head (in the right corner of the frame) that dominates the shot to show it is empty. We see one bird land, and Hitchcock builds suspense as he cuts between Melanie looking relaxed and a shot of the climbing frame with four to five birds. Then he cuts back to Melanie before cutting to the climbing frame with fifty birds. Then again he cuts to Melanie still smoking and watching the birds. A cut to the climbing frame which is now full of birds creates shock which Hitchcock develops shock when Melanie looks behind her and sees them. Hitchcock cuts to a high angle long shot as she rushes to the school, which makes her seem vulnerable because then there is a cut to a low angle as the birds start to attack. Both of these attacks are extended and constant.

Hitchcock also uses slow suspense such as when Arbogast and Melanie climb up the stairs in âPsychoâ and âThe Birdsâ respectively. He also uses the stillness of the birds as a collective and then shock. There is the shock of sharp objects in a close up, for example, the knife in âPsychoâ and the beaks in âThe Birdsâ.

In âPsychoâ, Hitchcock creates tension by mainly using music which sounds unnatural, and also shock with the exception of the diegetic sounds in the shower scene. In contrast, he only uses diagetic sounds in âThe Birdsâ such as when the birds are squawking and making noise for tension, Hitchcock also uses silence (the absence of sound) to make the audience feel uncomfortable, for example when we see the broken cups in the farmerâs house. The sounds during the attacks in both films are sharp, harsh, strange and disturbing which build shock because they make the audienceâs heart beat.

At the end of âPsychoâ, there is a resolution. The killer, Norman, is in prison and is punished. However in âThe Birdsâ, there is a cliffhanger as the birds win and the humans flee. The film is unresolved, so it creates tension among the viewers. âPsychoâ is in black and white, which makes it more sinister and frightening for example, the blood in the shower scene looks realistic, even if it was chocolate syrup. Also lighting is used to create shock. For example, in the fruit cellar, the body of 'âmotherâ is brought to life, revealed by the dead bodyâs crazily laughing face, with its eyes moving, lively and brought back to life by the light. The eyes of the corpse that stare at Lilaâs direction appear realistic but they are indeed dead. This can only happen in black and white, as it involves shadow. In contrast, âThe Birdsâ is mostly in colour so it seems less scary and happier at first. However, the blood looks artificial to us because it is bright red. A better use of how Hitchcock used colour was the fire which looks extremely terrifying and dangerous because it is bright orange and yellow, which would not have the same effect in black and white. However, there is a change of the use of colour at the end of the film when it is mainly black and white because of the colour of the birds and also because it is night which creates tension and a sinister atmosphere.

The killers in both films were realistic but strange and unexpected. The story starts in the city, but mostly set in a small rural town where the character is unfamiliar so the audience has sympathy for them. Also the small town is supposed to be safer, but is surprisingly dangerous. The main characters in both films are blond, stylish beautiful women, both motivated by a love interest. Hitchcock uses experts for both films. In âPsychoâ, there is a psychologist who comes at the end and explains Normanâs condition, which is the resolution. The car is pulled out. There is no more tension. In âThe Birdsâ, an ornithologist woman gives information about birds and their behaviour. In âPsychoâ, Norman's hobby is stuffing dead birds and other animals. The birds are, of course, a constant image in âThe Birdsâ.

At the beginning of âThe Birdsâ, we think this is a romantic comedy, when Mitch flirts with Melanie and the lovebirds move side to side in the car, while Melanie is driving in her car. This seems funny as birds do not normally do that. âPsychoâ, however has nothing to do with comedy. In âPsychoâ Marion is serious and poor whereas Melanie is cheerful, spoilt and rich. Both films are misleading because it starts as a romance. In âPsychoâ, Sam has left his ex-wife and now wants to stay with Marion, but he cannot afford to support her economically, so they are both unhappy. In âThe Birdsâ, Mitch too had a previous lover, Annie but now lives with his mum, Lydia and younger sister, Cathy. Both films are a thriller and become dark and sinister. Hitchcock misleads us to make the shocks more shocking.

Hitchcock creates suspense and shock in the way he uses cinematography: camera position, angles, shots, colour, lighting, sound and music. For example, in âNorth by Northwestâ, Hitchcock creates a scene of suspense and shock in the plane scene. There is an extreme long shot of the sky and cornfield and Cary Grant who looks small and helpless, stands waiting. Then a plane tries to attack him. There is a long silence, and he looks for the plane engine. A truck approaches and Hitchcock uses the camera from Caryâs point-of-view of the truck coming closer until it is an extreme close up of the grill of the truck. This creates shock as the grill is coming towards Grantâs face and ours. There is a point-of-view shot of the plane. A close up of Grant shows us he is shocked and a cut to a long shot of the plane coming towards him builds tension. Grant dives under the truck and then there is a great big shock, when the plane crashes into the truck which is leaking petrol and there is a terrific explosion.

In my opinion, I believe Alfred Hitchcock was outstandingly excellent at creating suspense and shock in a number of ways especially in the shower scene, as we know âmotherâ is coming from behind, but Marion doesnât since her back is facing the shower curtain. I preferred the film âPsychoâ as it was more successful in creating suspense and shock, since the film was made in black and white. This made it seem darker, scarier and creepy.