Collect a sample of nine (9) people using a systematic sampling method.
What is the population of people?
Where and how are you going to collect your sample?
Does your sample accurately represent your population? Why or why not?
Collect the sample and record the data.
(CLO 1) Construct a confidence interval to estimate the mean height and the mean weight by completing the following:
Find the sample mean and the sample standard deviation of the height.
Find the sample mean and the sample standard deviation of the weight.
Construct and interpret a confidence interval to estimate the mean height.
Construct and interpret a confidence interval to estimate the mean weight.
(CLO 2) Test a claim that the mean height of people you know is not equal to 64 inches using the p-value method or the traditional method by completing the following:
State H0 and H1.
Find the p value or critical value(s).
Draw a conclusion in context of the situation.
(CLO 3) Create a scatterplot with the height on the x-axis and the weight on the y-axis. Find the correlation coefficient between the height and the weight. What does the correlation coefficient tell you about your data? Construct the equation of the regression line and use it to predict the weight of a person who is 68 inches tall.
Write a paragraph or two about what you have learned from this process. When you read, see, or hear a statistic in the future, what skills will you apply to know whether you can trust the result?
The idea of the past also presents an objective experience in viewing the film, with the past functioning as a quasi-character. Beginning with the the narration in the opening scene-an imposition of the present onto the past-and the sandwiching of the film, as it ends with a parallel narration at the end. If the role of an author of film is to direct the lens to increasingly valuable discoveries, Jeunet, with his direction, uses his visuals to self-consciously thematise issues raised by visual representation. Controlling every element of sound and picture, Jeunet manufactured Paris’ aesthetic, digitally enhancing every-shot, erasing all traces of the unsightly reality: graffiti, pollution, crime. Jeunet as the auteur of Amélie captures the photogenie of the iconicity and nostalgia of the spectacularised Paris. In the world of the movie, Amelie’s first interaction with the past occurs in the same scene as Jeunet’s temporal reference to Diana’s death, with Amelie discovering a box of treasures hidden behind a tile of her washroom floor. The camera, located behind the tile, shoots from the point of view of the past that the box is tied to, framing Amelie outside of the wall, in the realm of the present. As Oscherwitz elaborates, “Because this scene occurs so early in the film, it functions to force identification between the spectator and the past, not merely between the spectator and Amélie.” In this scene, as with the rest of the film, Jeunet quite explicitly exploits the photogenic mobility of cinema-cinema’s mobility in space and time. The juxtaposition between iconicity and indexical relation through the visuals of Amélie informs the film’s thematisation of visual representation. Jeunet, using the same tactics as advertisements, wooes the audience with his movie of a “stereotyped idea of Paris that exists in the world, rather than recording Paris as it exists”. With an extraordinary number of shots in the film-over 300 in the prologue alone-each shot must make an instant impression. The power of the edited image to make this impression is enhanced by the soundtrack. The soundtrack emphasises the beginning and end of each shot, with almost every scene, and many individual moments, concluding with audible finality. >GET ANSWER