What is the purpose of using color-coded labels when filing front office documents?

To categorize and identify different types of documents at a glance

To make the documents harder to find

To add a colorful touch to the office decor

What is the purpose of creating subfolders within main folders when organizing front office documents?

To further categorize and organize related documents within a larger category

To complicate the filing system unnecessarily

To make it harder to find specific information

Why is it important to regularly review and update the filing system for front office documents?

To ensure that it remains efficient and meets the changing needs of the office

To waste time without any benefits

To make the system more confusing over time

To keep everything exactly the same forever

Which of the following is an important step in filing and arranging front office documents?

Organizing documents alphabetically or chronologically

Keeping documents scattered on the desk

Leaving documents unsorted on the floor

Throwing documents in a random pile

Why is it important to label folders and files when filing front office documents?

To easily identify the contents of each folder/file

To confuse employees who need to access the documents

To increase the weight of the folders/files

To make the office look more colorful

What is the purpose of creating a filing system for front office documents?

To ensure efficiency and organization in accessing and storing information

To confuse employees and visitors

To waste time searching for important documents

To make the office look cluttered and chaotic

When arranging front office documents, what does it mean to 'index' the files?

Creating a list or database to track the location and content of each file

Throwing away unnecessary documents

Stacking files on top of each other

Mixing up different types of documents

What is the purpose of categorizing front office documents before filing them?

To group similar documents together for easier retrieval

To mix up different types of documents randomly

To create confusion among office staff

To delay the filing process unnecessarily

When storing front office documents, why is it important to use protective covers or sleeves?

To prevent damage or wear and tear on the documents

To increase the weight of the documents

To make the documents harder to access

To make the office look fancier

What is the purpose of a file retention schedule in managing front office documents?

To determine how long documents should be kept before they are disposed of

To keep all documents indefinitely

To create unnecessary paperwork

To randomly delete files without any criteria

FILING AND ARRANGING FRONT OFFICE DOCUMENTS

unit_203_2_handout_3_filing_and_archiving

Chapter 3- Filing Methods and Systems

4.12 Filing for an Extension and Avoiding an Audit

[Text] Grammar - Unit 11, 12 recap - Gap filling and question making - Part 2

[Scrambled] Grammar - Unit 11, 12 recap - Gap filling and question making

[Text] Grammar - Unit 11, 12 recap - Gap filling and question making

1. What does the name Mlungisi mean? A. The Helper B. The Fixer C. The Brave One D. The Giver → B 2. What kind of person is Mlungisi? A. Rebellious and lazy B. Always fixing problems and helping others C. A mysterious, quiet boy D. A selfish older cousin → B 3. What does the name Velile mean? A. One Who Builds B. The Beloved One C. He Who Popped Out of Nowhere D. He Who Carries Others → C 4. How does Velile behave according to Trevor? A. He is very responsible and hardworking B. He often vanishes and suddenly reappears C. He is a caring father figure D. He is always around to help the family → B 5. Patricia’s name means: A. She Who Gives Back B. She Who Demands More C. The Fighter D. The Lost One → A 6. What did Patricia do as a child in Soweto? A. She went to school and stayed away from others B. She took care of abandoned children and fed them C. She ran away from home frequently D. She helped her father manage a shop → B 7. Where did Patricia find the money to buy food for the children? A. From her allowance B. From selling her toys C. From collecting bottles from shebeens D. From stealing it → C 8. What is a shebeen in this context? A. A school for orphans B. A place for young kids to play C. An informal bar where men would drink D. A shelter for street children → C 9. How old was Patricia when she started helping other children? A. 4 or 5 B. 6 or 7 C. 10 or 11 D. Teenager → B 10. Why did Trevor’s mother choose the name “Trevor”? A. It was the name of her favorite Bible character B. It was her father’s name C. It had no meaning, and she wanted him to be free D. It was a popular name in her family → C 11. What does it mean that Trevor's name had “no precedent” in South Africa? A. It was illegal to use B. It had no cultural or family history C. It came from ancient African myths D. It was a translation of a Zulu name → B 12. What is the deeper reason behind Patricia giving Trevor a name with no meaning? A. She didn’t like traditional names B. She didn’t know what the name meant C. She wanted him to escape fate and create his own identity D. She thought names were unimportant → C 13. According to Trevor, what kind of effect do traditional Xhosa names usually have? A. They are just for decoration B. They are often meaningless C. They tend to become self-fulfilling D. They reflect colonial history → C 14. What literary device is mainly used in the idea of names becoming destiny? A. Hyperbole B. Irony C. Symbolism D. Pun → C 15. Trevor’s mother wanted him to be: A. Bound to cultural tradition B. Free to be anyone he wanted C. A preacher D. Another fixer like Mlungisi → B ★ True or False Questions (判断题)（共10题） 16. Trevor’s cousin Mlungisi was known for always creating trouble. → False 17. Velile’s name and personality are both connected to sudden appearances and disappearances. → True 18. Patricia started caring for others when she was already an adult. → False 19. Shebeens were places where children gathered to play and eat. → False 20. Patricia used money she earned at a job to feed other children. → False （她用换瓶子的钱） 21. Trevor’s name has no Biblical or cultural background. → True 22. Patricia believed that names could shape a person’s life. → True 23. Trevor’s mother gave him a name with no meaning because she didn’t care about names. → False 24. Xhosa names often carry strong cultural or symbolic meanings. → True 25. Trevor’s mother gave him a name with no meaning so that he could be free from expectations. → True

Auteur Theory is a way of looking at films that state that the director is the “author” of a film. A film is a reflection of the director’s artistic vision; so, a movie directed by a given filmmaker will have recognizable, recurring themes and visual queues that inform the audience who the director is (think a Hitchcock or Tarantino film) and shows a consistent artistic identity throughout that director’s filmography. The 3 Components of Auteur Theory Andrew Sarris, film critic for The New York Times, expanded on Truffaut’s writing and set out a more comprehensive definition for auteurs according to three main criteria: technical competence, distinguishable personality, and interior meaning. 1. Technical competence: Auteurs must be at the top of their craft in terms of technical filmmaking abilities. Auteurs always have a hand in multiple components of filmmaking and should be operating at a high level across the board. 2. Distinguishable personality: What separates auteurs from other technically gifted directors is their unmistakable personality and style. When looking at an auteur’s collected works, you can generally see shared filming techniques and consistent themes being explored. One of the primary tenets of auteur theory is that auteurs make movies that are unmistakably theirs. This is in sharp contrast with the standard studio directors of the era who were simply translating script to screen with little interrogation of the source material or editorial input. 3. Interior meaning: Auteurs make films that have layers of meaning and have more to say about the human condition. Films made by auteurs go beyond the pure entertainment-oriented spectacles produced by large studios, to instead reveal the filmmakers unique perspectives and ruminations on life. https://www.masterclass.com/articles/film-101-what-is-an-auteur#3ClNjwO6Gkgjd8ix2Cm5qI Who is the author of a TV program? It seems like it ought to be an easy question to answer, but it is not. There are, of course, scriptwriters, who are the literal authors of episodes in the sense of generating words that an actor eventually speaks, but in a soap opera or a sitcom there may be a dozen or more scriptwriters working on dialogue as the months go by. Is any one of them truly responsible for the overall tenor of the show, or are they just following rigid guidelines set down by other scriptwriters ahead of them? And the script is just the blueprint of an episode anyway. Actors, production designers, directors, videographers, editors, and on and on, are all necessary to construct an episode from that blueprint. Should we call one of them the author? And, at a more basic level, should we even bother looking for authors in television? Do viewers need to know who created a program in order to enjoy it? What does it add to our appreciation or understanding of television if we assign authorship of a program to an individual? In the closely related medium of the cinema, questions such as these have been answered by the auteur theory, which stems from the French word for “author,” auteur. Its basic precept is that a single individual is, and should be, the “author” of a work in order for it to be a good, artistically valuable work. A book, poem, film, or television show should express this individual’s personality, his “vision” (the masculine pronoun is significant; auteurist studies almost all focus on men). This notion stems from the nineteenth-century Romantic image of the author as a figure who sits alone in a dingy room, scratching out angst-ridden poems with a quill pen. The tormented, misunderstood author or artist is a cherished character type that can be traced back to the poet Lord Byron (1788–1824) and observed in numerous portrayals of demented painters, musicians, and writers in television programs and other media. Consider this: Have you ever seen or read a story about a creative person who wasn’t somehow strange or crazy? The auteur theory originated in French film criticism of the 1950s, where it was initially theorized that auteurs could be drawn from the ranks of producers, directors, scriptwriters, actors, and other filmmaking personnel.1 However, the vast bulk of auteurist film criticism has been about directors: Alfred Hitchcock, John Ford, and Quentin Tarantino, among many others.

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