Search results for 'tag:Numbers tag:Interviews' matching tags 'Numbers' and 'Interviews'

Reply to an interview invitation

leanann — Mon, 24 Nov 2008 20:26:03 GMT

Hi!

A company has sent me the following email to arrange a telephone interview with me. I've written the answer but I'd be really grateful if someone could check it. I find that my answer is too abrupt and I believe that what they want with this email is to check my English. I don't want to sound pompous either.
Thanks a lot for your help!

--

Dear X,

We have received your application and we want to thank you for your interest in our company.

As a next step, we would like to arrange a telephone interview. Here are our suggestions:

Friday 28 November at 4.00 pm

or

Tuesday 2 December at 11.00 am or at 3.00 pm

or

Friday 5 December at 10.00 am or at 3.30 pm

Could you please confirm which date suits you best and on which telephone number you would prefer to be reached?

Thank you in advance for your cooperation and we look forward to hearing from you soon!
Best regards

(Name of the company)

--

Dear Sirs or Madams,

I am delighted to receive your invitation for a telephone interview. Tuesday 2nd November at 11:00 am would suit me best. My telephone number is ***.

Best regards,

X

---------

Can American fall asleep at university graduation ceremonies?

copysnake — Sun, 16 Nov 2008 13:26:59 GMT

Over the past century, all kinds of unfairness and discrimination have been condemned or made illegal. But one insidious form continues to thrive: alphabetism. This, for those as yet unaware of such a disadvantage, refers to discrimination against those whose surnames begin with a letter in the lower half of the alphabet.

ããIt has long been known that a taxi firm called AA cars has a big advantage over Zodiac cars when customers thumb through their phone directories. Less well known is the advantage that Adam Abbott has in life over ZoÃ« Zysman. English names are fairly evenly spread between the halves of the alphabet. Yet a suspiciously large number of top people have surnames beginning with letters between A and K.

ããThus the American president and vice-president have surnames starting with B and C respectively; and 26 of George Bush's predecessors (including his father) had surnames in the first half of the alphabet against just 16 in the second half. Even more striking, six of the seven heads of government of the G7 rich countries are alphabetically advantaged (Berlusconi, Blair, Bush, Chirac, ChrÃ©tien and Koizumi). The world's three top central bankers (Greenspan,Duisenberg and Hayami) are all close to the top of the alphabet, even if one of them really uses Japanese characters. As are the world's five richest men (Gates, Buffett, Allen, Ellison and Albrecht).
ããCan this merely be coincidence? One theory, dreamt up in all the spare time enjoyed by the alphabetically disadvantaged, is that the rot sets in early. At the start of the first year in infant school, teachers seat pupils alphabetically from the front, to make it easier to remember their names. So short-sighted Zysman junior gets stuck in the back row, and is rarely asked the improving questions posed by those insensitive teachers. At the time the alphabetically disadvantaged may think they have had a lucky escape. Yet the result may be worse qualifications, because they get less individual attention, as well as less confidence in speaking publicly.

The humiliation continues. At university graduation ceremonies, the ABCs proudly get their awards first; by the time they reach the Zysmans most people are literally having a ZZZ. Shortlists for job interviews, election ballot papers, lists of conference speakers and attendees: all tend to be drawn up alphabetically, and their recipients lose interest as they plough through them.

49. What does the author mean by "most people are literally having a ZZZ" (line 2, paragraph 5)?
ãã They are getting impatient.
ãã They are noisily dozing off.
ãã They are feeling humiliated.
ãã They are busy with word puzzles.

which one is the best answer?Â The answer reference is B

what do you think ? Can American fall asleep at university graduation ceremonies? what "literally" means here? why not A ?

Â "as" is a conjunction or a adv. in theÂ sentence âAs are the world's five richest menâ

Thank you very much for reply!

Re: could you please help me with my homework

Mister Micawber — Tue, 16 Sep 2008 13:14:37 GMT

.
It is very well done.

Dear Ms. Becks:

I would like to apply for the position of Sales Manager, as advertised in the 16 October number of the Bangkok Post. I have extensive experience in sales management, and I am familiar with computer applications such as Microsoft Word and Excel.

I am presently employed as Sales Manager at ABC Company and have held this position for the last three years. Some of my responsibilities include training new staff and planning product marketing. I am an energetic, responsible and analytical person, and I am confident that I would be able to perform the duties of Sales Manager to your satisfaction.

I would welcome the opportunity for a personal interview to discuss the contribution I could make to your company. I can be contacted at 081-658-88.

Thank you very much for your time and consideration.

Sincerely yours,

Need help proofreading a short cover letter

MorbidSnail — Thu, 11 Sep 2008 18:13:52 GMT

Hello everyone!

I am writing a cover letter and resume as a class project for a business communications class. I have run this cover letter by several people and they could not find any mistakes. I was hoping one of you guys could take a look at it one last time before I turn it in as each error of any type results in a loss of 25/100 points! The comments in bold are specific questions I have.

Any help would be GREATLY appreciated! I am horrible with grammar so I am paranoid as hell. It doesn't help that none of my friends are English majors!

[my address]
San Angelo, TX 76904

September 09, 2008

Mr. Bob H. Smith
URS Corporation
P.O. Box 201088
Austin, TX 78720-1088

Dear Mr. Smith:

On September 3, Monster.com reported that your organization is looking for someone to fill the position of Marketing Business Assistant. After learning a little more about your company,(comma needed here?) I believe I am an excellent candidate for the position.

The ad you placed on Monster.com stated that you desired someone with a strong background in Microsoft Office Suite and excellent communication, interpersonal, and organizational skills. Due to my experiences in courses such as Statistical Analysis(should I capitalize course names?) and Business Communications,(comma needed here?) I have used the programs available in Microsoft Office Suite extensively and am very comfortable with them. In addition, I experienced success as a delivery driver due to my ability to organize orders, plan efficient routes, and work as a team with my co-workers to ensure orders were delivered in a timely and professional manner. A detailed list of my qualifications, employment history, and education is available on the attached resume.

I look forward to putting my skills and abilities to use at URS and will call during the week of September 15th to discuss a time to set up an interview and detail my qualifications more fully. I am available by email at [my email address] or I can be reached at [my phone number] any time before 11am or after 3pm central time.

Sincerely,

Christian S. Jones

Re: How to reply to interview invitation

Hampeh — Sun, 07 Sep 2008 15:22:57 GMT

Normal 0 false false false EN-MY X-NONE X-NONE MicrosoftInternetExplorer4

Ok. Thanks for your advice. btw, I learned two vocabulary today.:)

supernumerary

Â· adj.

1 present in excess of the normal or requisite number.

2 not belonging to a regular staff but engaged for extra work. Ã (of an actor) appearing on stage but not speaking.

Â· n. (pl. supernumeraries) a supernumerary person or thing.

â ORIGIN C17: from late L. supernumerarius â(soldier) added to a legion after it is completeâ.

gobbledegook (also gobbledygook)

Â· n. informal meaningless or unintelligible language, especially when over-technical or pompous.

â ORIGIN 1940s (orig. US): prob. imitating a turkeyâs gobble.

A Little Help with Capitals

angel_tristan0409 — Thu, 28 Aug 2008 10:07:10 GMT

A Little Help with Capitals

This handout lists some guidelines for capitalization. If you have a question about whether a specific word should be capitalized that doesn't fit under one of these rules, try checking a dictionary to see if the word is capitalized there.

Use capital letters in the following ways:

The first words of a sentence

When he tells a joke, he sometimes forgets the punch line.

The pronoun "I"

The last time I visited Atlanta was several years ago.

Proper nouns (the names of specific people, places, organizations, and sometimes things)

Worrill Fabrication Company

Golden Gate Bridge

Supreme Court

Livingston, Missouri

Atlantic Ocean

Mothers Against Drunk Driving

Family relationships (when used as proper names)

I sent a thank-you note to Aunt Abigail, but not to my other aunts.

Here is a present I bought for Mother.

Did you buy a present for your mother?

The names of God, specific deities, religious figures, and holy books

God the Father

the Virgin Mary

the Bible

the Greek gods

Moses

Shiva

Buddha

Zeus

Exception: Do not capitalize the non-specific use of the word "god."

The word "polytheistic" means the worship of more than one god.

Titles preceding names, but not titles that follow names

She worked as the assistant to Mayor Hanolovi.

I was able to interview Miriam Moss, mayor of Littonville.

Directions that are names (North, South, East, and West when used as sections of the country, but not as compass directions)

The Patels have moved to the Southwest.

Jim's house is two miles north of Otterbein.

The days of the week, the months of the year, and holidays (but not the seasons used generally)

Halloween

October

Friday

winter

spring

fall

Exception: Seasons are capitalized when used in a title.

The Fall 1999 semester

The names of countries, nationalities, and specific languages

Costa Rica

Spanish

French

English

The first word in a sentence that is a direct quote

Emerson once said, "A foolish consistency is the hobgoblin of little minds."

The major words in the titles of books, articles, and songs (but not short prepositions or the articles "the," "a," or "an," if they are not the first word of the title)

One of Jerry's favorite books is The Catcher in the Rye.

Members of national, political, racial, social, civic, and athletic groups

Green Bay Packers

African-Americans

Anti-Semitic

Democrats

Friends of the Wilderness

Chinese

Periods and events (but not century numbers)

Victorian Era

Great Depression

Constitutional Convention

sixteenth century

Trademarks

Pepsi

Honda

IBM

Microsoft Word

Words and abbreviations of specific names (but not names of things that came from specific things but are now general types)

Freudian

NBC

pasteurize

french fries

italics

Re: Georgia - a peaceloving genocide

Ant_222 — Sat, 16 Aug 2008 18:34:00 GMT

Dominik
Â What do you think about this article?

It says: Tskhinvali, where most of the fighting took place, mostly intact and with "little evidence of a high death toll."Â

Russia News have shown LOTS of damage and destruction in Tskhinval, saying the city has been essentially destroyed. And this kind of evidence is a rare case when it is easy to see and hard to falsify.

I don't know what the author wants to say by referring to the interview with a doctor who said the hospital had treated only several hundred patients. Can a hospital take through it 2000 patients in a space of a day or two (until the Russian army came)? Also take into account that, as per Russian news, the Tskhinval hospital was a target of Georgian artillery and even GRADs, which were using splinter shells that don't inflict much damage to buildings but kill everything alive.

Under heavy bombardment, most of medical treatment was delivered in cellars, for they were the only (relatively) safe place.

Another evidence hard to fabricate is the number of refugees from S. Ossetia, which is reported to be around 34000, 40% of the population!Â

I seriously doubt Russian government is dumb enough to tell a kind of lie that can be checked and disproved so easily.

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.

Re: could you please help me?

26TMNTJG2PG — Thu, 10 Jul 2008 14:31:14 GMT

Recently, I decided to ~~increase~~ improve my knowledge of payroll and become familiar with current payroll legislation. As you will see from my CV, I am expecting the results of my exam and certificate from Pitman Training. During the course I learned how to calculate gross/net pay, holiday payments and deductions, national insurance contributions, and all statutory payments. I am confident with processing monthly and weekly payroll including general data input, input for starters, and leavers, processing P45, P46, P11, P11D, P60 forms, issuing electronic timesheets, pay reviews and reports, checking and inputting tax code changes. I am familiar with the manual as well as ~~with~~ computerised payroll (Sage Payroll). I hope you will agree that ~~this is a sound~~ I have a good background for an the entry level of a Payroll Clerk.

I have enclosed my CV for your review. Please call me at the contact number given so that we can discuss how my qualification can be of benefit to your company. I look forward to hearing from you. ~~and~~ I am available for interview at your convenience.

Thank you for considering my application.

could you please help me?

Anonymous — Thu, 10 Jul 2008 10:36:43 GMT

Hi all, could you help me with grammar in my covering letter? I know that first paragraph is fine so I would like to ask you to check the middle part which is below.

Recently, I decided to increase my knowledge of payroll and become familiar with current payroll legislation. As you will see from my CV, I am expecting the results of my exam and certificate from Pitman Training. During the course I learned how to calculate gross/net pay, holiday payments and deductions, national insurance contributions, all statutory payments. I am confident with processing monthly and weekly payroll including general data input, starters, leavers, processing P45, P46, P11, P11D, P60 forms, issuing electronic timesheets, pay reviews and reports, checking and inputting tax code changes. I am familiar with manual as well as with computerised payroll (Sage Payroll). I hope you will agree that this is a sound background for an entry level Payroll Clerk.

I have enclosed my CV for your review. Please call me at the contact number given so that we can discuss how my qualification can be of benefit to your company. I look forward to hearing from you and am available for interview at your convenience.

Thank you for considering my application.