Woman and women

A Man and a Woman

Contents

Plot [ edit ]

A young widow, Anne Gauthier (Anouk Aimee ), is raising her daughter Francoise (Souad Amidou) alone following the death of her husband (Pierre Barouh ) who worked as a stuntman and who died in a movie set accident that she witnessed. Still working as a film script supervisor, Anne divides her time between her home in Paris and Deauville in northern France where her daughter attends boarding school. A young widower, Jean-Louis (Jean-Louis Trintignant ), is raising his son Antoine (Antoine Sire) alone following the death of his wife Valerie (Valerie Lagrange) who committed suicide after Jean-Louis was in a near fatal crash during the 24 Hours of Le Mans. Still working as a race car driver, Jean-Louis divides his time between Paris and Deauville where his son also attends boarding school.

One day Anne and Jean-Louis meet at the Deauville boarding school after Anne misses the last train back to Paris. Jean-Louis offers her a lift and the two become acquainted during the drive home, enjoying each other's company. When he drops her off, he asks if she would like to drive up together the following weekend, and she gives him her phone number. After a busy week at the track preparing for the next race, Jean-Louis calls and they meet early Sunday morning and drive to Deauville in the rain. Clearly attracted to each other, they enjoy a pleasant Sunday lunch with their children who get along well. Later that afternoon they go for a boat ride followed by a walk on the beach at sunset.

Jean-Louis spends the following week preparing for and driving in the Monte Carlo Rally in southeast France. Every day, Anne closely follows news reports of the race, which takes place in poor weather conditions along the icy roads of the French Riviera. Of the 273 cars that started the race, only 42 were able to finish, including Jean Louis's white Mustang, number 184. Watching the television coverage of the conclusion of the race, Anne sends Jean-Louis a telegram that reads, "Bravo! I love you. Anne."

That night at a dinner for the drivers at the Monte Carlo Casino. Jean-Louis receives the telegram and leaves immediately. He jumps into the same car he used during the race and drives through the night to Paris, telling himself that when a woman sends a telegram like that, you go to her no matter what. Along the way he imagines what their reunion will be like. At her Paris apartment, Jean-Louis learns that Anne is in Deauville, so he continues north. Jean-Louis finally arrives in Deauville and finds Anne and the two children playing on the beach. When they see each other, they run into each other's arms and embrace.

After dropping their children off at the boarding school, Jean-Louis and Anne drive into town where they rent a room and begin to make love with passionate tenderness. While they are in each other's arms, however, Jean-Louis senses that something is not right. Anne's memories of her deceased husband are still with her and she feels uncomfortable continuing. Anne says it would be best for her to take the train back to Paris alone. After dropping her off at the station, Jean-Louis drives home alone, unable to understand her feelings. On the train Anne can only think of Jean-Louis and their time together. Meanwhile, Jean-Louis drives south through the French countryside to the Paris train station, just as her train is arriving. As she leaves the train, she spots Jean-Louis and is surprised, hesitates briefly, and then walks toward him and they embrace.

Cast [ edit ]

Anouk Aimee as Anne Gauthier

Jean-Louis Trintignant as Jean-Louis Duroc

Pierre Barouh as Pierre Gauthier

Valerie Lagrange as Valerie Duroc

Antoine Sire as Antoine Duroc

Souad Amidou as Francoise Gauthier

Henri Chemin as Jean Louis' co-driver

Yane Barry as Jean Louis' mistress

Paul Le Person as Petrol pump attendant

Simone Paris as Head Mistress

Gerard Sire as Radio commentator

Gerard Larrousse as Rally driver

Clive Roberts as Rally driver [ 7 ]

Production [ edit ]

Story and script [ edit ]

According to director Claude Lelouch. the story originated from an experience following his disappointment trying to get a distribution deal for his film Les Grands Moments . As was his habit during troubling times, he went for a long drive and ended up on the shore at Deauville at 2:00 am. After a few hours sleep in the car, he was awakened by the sunrise and saw a woman walking on the beach with her daughter and a dog. This sparked his creativity which led to the story and script which he co-wrote with Pierre Uytterhoeven within a month. [ 8 ]

Casting [ edit ]

A key casting decision for Lelouch was Jean-Louis Trintignant .

I think Jean-Louis is the actor who taught me how to direct actors. We really brought each other a lot. He changed his method of acting while working with me, and I began to truly understand what directing actors was all about, working with him. I think the relationship between a director and actor is the same relationship as in a love story between two people. One cannot direct an actor if you do not love him or her. And he cannot be good if he or she does not love you in turn. [ 9 ]

For the female lead, Trintignant asked Lelouch who his ideal woman would be, and Lelouch indicated Anouk Aimee. who had appeared in Fellini's La Dolce Vita (1960) and 8? (1962). Trintignant happened to be a close friend of hers and told him to call her. When he did, she accepted without reading the script. Although early disagreements and the low-budget skeleton crew caused initial tension between the director and actress, they quickly resolved their differences and the two went on to become close friends. [ 8 ]

Filming [ edit ]

Once the script was drafted, the film was made relatively quickly, with one month of preproduction work, three weeks of principal photography, and three weeks editing. [ 8 ] Due to budget constraints, he used an older handheld camera that was not soundproof, so blankets were frequently employed to dampen the camera noise. [ 8 ]

Lelouch is considered a pioneer in mixing different film stocks: black-and-white with color, and 35mm with 16mm and super 8. For years film critics debated the symbolism of the mixed film stocks, but Lelouch acknowledged that the primary reason was that he was running out of money, and black and white stock was cheaper. [ 9 ] His original plan involved shooting strictly in black and white, but when an American distributor offered him $40,000 to film in color, he filmed the outdoor sequences in color, and the indoor scenes in black and white. [ 8 ]

The music soundtrack was recorded prior to filming, and Lelouch would play the music on the set to inspire the actors. [ 8 ] Lelouch encouraged his actors to improvise some of the dialogue, and several key scenes were improvised. The climactic scene at a train station was not scripted at the time of shooting, and Aimee did not know that director Lelouch had decided on the two main characters reuniting at the end. The look of surprise on Aimee's face is genuine. [ 10 ]

Reception [ edit ]

The film earned $3 million in the US and $4 million internationally during its initial theatrical release. [ 11 ]

Critical response [ edit ]

Upon its theatrical release in the United States, A Man and a Woman received mostly positive reviews. In his review in The New York Times . Bosley Crowther wrote, "For a first-rate demonstration of the artfulness of a cameraman and the skill at putting together handsome pictures and a strongly sentimental musical score, there is nothing around any better than Claude Lelouch's A Man and a Woman ." [ 12 ] Crowther lauded the "beautiful and sometimes breath-taking exposition of visual imagery intended to excite the emotions" and praised the director for his ability to create something unique from the commonplace:

Mr. Lelouch, who was his own script writer as well as director and cameraman, has a rare skill at photographing cliches so that they sparkle and glow with poetry and at generating a sense of inspiration in behavior that is wholly trivial. [ 12 ]

The review in Variety noted the performances of the lead actors: "Anouk Aimee has a mature beauty and an ability to project an inner quality that helps stave off the obvious banality of her character, and this goes too for the perceptive Jean-Louis Trintignant as the man." [ 13 ]

On the review aggregator web site Rotten Tomatoes . the film holds a 77% positive rating from top film critics based on 13 reviews, and an 88% positive audience rating based on 5,386 reviews. [ 14 ]

Awards and nominations [ edit ]

1966 Cannes Film Festival Palme d'Or (Claude Lelouch) Won

1967 Academy Award for Best Foreign Language Film Won

1967 Academy Award for Best Writing (Claude Lelouch, Pierre Uytterhoeven) Won

1967 Academy Award Nomination for Best Actress in a Leading Role (Anouk Aimee)

1967 Academy Award Nomination for Best Director (Claude Lelouch)

1967 Blue Ribbon Award for Best Foreign Language Film (Claude Lelouch) Won

1967 Cinema Writers Circle Award for Best Foreign Film Won

1967 Directors Guild of America Award for Outstanding Directorial Achievement (Claude Lelouch) Won

1967 Golden Globe Award for Best Foreign-Language Foreign Film Won

1967 Golden Globe Award for Best Motion Picture Actress (Anouk Aimee) Won

1967 Golden Globe Award Nomination for Best Motion Picture Director (Claude Lelouch)

1967 Golden Globe Award Nomination for Best Original Score (Francis Lai)

1967 Golden Globe Award Nomination for Best Original Song in a Motion Picture (Francis Lai, Pierre Barouh)

1967 Italian National Syndicate of Film Journalists Silver Ribbon for Best Director, Foreign Film (Claude Lelouch) Won

1967 Laurel Award Nomination for Female Dramatic Performance (Anouk Aimee)

1967 National Board of Review of Motion Pictures Award for Top Foreign Film Won

1968 BAFTA Award for Best Foreign Actress (Anouk Aimee) Won

1968 BAFTA Award Nomination for Best Film (Claude Lelouch)

1968 Mexican Cinema Journalists Silver Goddess Award for Best Foreign Actress (Anouk Aimee) Won [ 15 ]

Страница

Как мужчины называют своих девушек и что это значит!?

Фразы и их значение смотрите тут

1. Бэби — ухаживает, но ваши настоящие чувства ему вряд ли интересны.

2. Конфетка — осторожнее: вас, похоже, считают своей собственностью.

3.Бегемотик — поглощен вами, уважает вашу самостоятельность, но не прочь поиграть.

4.Детка — в своих желаниях конкретен и не хочет ничего усложнять.

5.Дорогая, дорогой — в отношениях ценит уверенность, определенность. Чувства стоят на втором месте.

6.Дурында — готов простить вам любую ошибку и взять ситуацию под свой контроль.

7.Ежик, ежонок — придает вашим отношениям особую значимость. Бывает несдержан, так как боится вас потерять.

8.Жабка — энергичен и игриво напорист, но очень дорожит вашими отношениями.

9.Жизнь моя — пафос выдает склонность к перебору. Проверьте, нет ли у него еще одной «жизни» на стороне.

10.Заяц, зайчонок, зая, зайка — склонен к азарту и не прочь поиграть с вами. В глубине души ревнив и пристально наблюдает за вами.

11.Золото, золотко, золотце — подчеркивает значимость ваших отношений, хотя разум у него преобладает над чувствами.

12.Киса, киска, кисонька, кысик — настроен на близкий контакт и не хочет усложнять ситуацию.

13.Козлик, козочка, козявочка — чувствует с вами полную близость. Вы

для него очень родной человек, хотя он и не прочь вас поддразнить.

14.Муля, муся, мусипусечка — чувства очень сильны. Он склонен увлекаться и часто не знает меры

15.Конфетка — осторожнее: вас, похоже, считают своей собственностью.

16.Котенок, котик, котя, котятина — чувствует с вами близость и неразрывную связь, хочет убедить вас в своей верности.

17.Крокодильчик — подчеркнуто энергичен, не настроен ходить вокруг да около и долго сдерживать эмоции.

18.Кукла, куколка — увлечен вами, но не придает вашим отношениям слишком большого значения.

19.Лапа, лапуля, лапусик — очень активен и готов работать и жить ради вас.

20.Ласточка — очень внимателен и абсолютно уверен в вас.

21.Лисенок, лисичка, лисена — все внимание поглощено вами и того же он ждет от вас.

22.Любимая, любимый, любовь — склонен к чувственному перебору и готов действовать решительно и напористо.

23.Ляля, лялик — очень эмоционален, может не контролировать всплеска чувств — как хороших, так и плохих.

24.Маленькая, маленький, масик, мася — чувства очень глубоки, о вас готовы заботиться.

25.Малыш, малышка — вы поглощаете все внимание, и от вас ждут того же.

26.Медвежонок — очень чувственный человек, но не настроен торопиться. Он осмотрителен и не хочет вас потерять.

27.Милая, милый — обещает вам прочные отношения. Его чувства находятся в равновесии с разумом.

28.Муля, муся, мусипусечка — чувства очень сильны. Он склонен увлекаться и часто не знает меры.

29.Мышка, мышонок — очень к вам привязан, бывает несдержан, но его любовь глубока.

30.Пампушка — рассчитывает на полную близость и взаимодействие.

31.Пончик — всеми силами хочет привлечь ваше внимание и оградить себя от возможных соперников.

32.Пузо, пузик, телепуз — настроен на создание и обустройство семейного очага.

33.Пупс, пупсик, пусечка, пуся — ищет с вами полного контакта, но за этим стоят не столько чувства, сколько практический интерес.

34.Рыбка — на ваши отношения смотрит скорее по-деловому. На первое место ставит не романтику, а практический интерес.

35.Сладкая, сладкий — сознательно подчеркивает свою эмоциональность. Но в душе он уравновешен и спокоен.

36.Слоненок, слоник — придает большую важность вашим отношениям и ждет полной взаимности.

37.Солнце, солнышко — испытывает к вам неподдельную нежность и живой интерес.

38.Тигра, тигренок — уважает вашу самостоятельность. Не прочь пошутить над вами, но на деле предлагает равноправный союз.

39.Хомячок — склонен к импульсивным поступкам и легко может поддаться сиюминутным порывам.

40.Цыпа, цыпленок — предлагает вам активный контакт, но, возможно, в глубине души чего-то опасается.

Contents

Etymology

The spelling of woman in English has progressed over the past millennium from wifmann [ 1 ] to wimmann to wumman . and finally, the modern spelling woman . [ 2 ] In Old English. wifmann meant "female human", whereas wer meant "male human". Mann or monn had a gender-neutral meaning of "human", corresponding to Modern English "person" or "someone", however subsequent to the Norman Conquest. man began to be used more in reference to "male human", and by the late 1200s had begun to eclipse usage of the older term wer . [ 3 ] The medial labial consonants f and m in wifmann coalesced into the modern form "woman", while the initial element, which meant "female", underwent semantic narrowing to the sense of a married woman ("wife"). It is a popular misconception that the term "woman" is etymologically connected with "womb", which is from a separate Old English word, wambe meaning "stomach" (of male or female). Nevertheless, such a false derivation of "woman" has appeared in print. [ 4 ]

Biological symbol

The symbol for the planet Venus is the sign also used in biology for the female sex. It is a stylized representation of the goddess Venus's hand-mirror or an abstract symbol for the goddess: a circle with a small equilateral cross underneath. The Venus symbol also represented femininity. and in ancient alchemy stood for copper. Alchemists constructed the symbol from a circle (representing spirit ) above an equilateral cross (representing matter ).

Terminology

Womanhood is the period in a female's life after she has passed through childhood and adolescence, generally around the age 18.

The word woman can be used generally, to mean any female human, or specifically, to mean an adult female human as contrasted with girl . The word girl originally meant "young person of either sex" in English; [ 5 ] it was only around the beginning of the 16th century that it came to mean specifically a female child. [ 6 ] The term girl is sometimes used colloquially to refer to a young or unmarried woman, however during the early 1970s feminists challenged such use because the use of the word to refer to a fully grown woman may cause offence. In particular, previously common terms such as office girl are no longer widely used. Conversely, in certain cultures which link family honor with female virginity. the word girl is still used to refer to a never-married woman; in this sense it is used in a fashion roughly analogous to the obsolete English maid or maiden . Referring to an unmarried female human as a woman may, in such a culture, imply that she is sexually experienced, which would be an insult to her family.

There are various words used to refer to the quality of being a woman. The term "womanhood" merely means the state of being a woman, having passed the menarche ; "femininity" is used to refer to a set of typical female qualities associated with a certain attitude to gender roles ; "womanliness" is like "femininity", but is usually associated with a different view of gender roles; "femaleness" is a general term, but is often used as shorthand for "human femaleness"; "distaff" is an archaic adjective derived from women's conventional role as a spinner, now used only as a deliberate archaism ; "muliebrity" is a neologism (derived from the Latin) meant to provide a female counterpart of "virility ", but used very loosely, sometimes to mean merely "womanhood", sometimes "femininity" and sometimes even as a collective term for women.

Menarche, the onset of menstruation. occurs on average at age 12-13. Many cultures have rites of passage to symbolize a girl's coming of age. such as confirmation in some branches of Christianity. bat mitzvah in Judaism. or even just the custom of a special celebration for a certain birthday (generally between 12 and 21), like the Quinceanera of Latin America.

History

The earliest women whose names are known through archaeology include:

Neithhotep ( circa 3,200 B. C.E.), the wife of Narmer and the first queen of ancient Egypt. [ 7 ] [ 8 ]

Merneith ( circa 3,000 B. C.E.), consort and regent of ancient Egypt during the first dynasty. She may have been ruler of Egypt in her own right. [ 9 ] [ 10 ]

Merit-Ptah ( circa 2,700 B. C.E.), also lived in Egypt and is the earliest known female physician and scientist. [ 11 ]

Peseshet ( circa 2,600 B. C.E.), a physician in Ancient Egypt. [ 12 ] [ 13 ]

Puabi ( circa 2,600 B. C.E.), or Shubad – queen of Ur whose tomb was discovered with many expensive artifacts. Other known pre-Sargonic queens of Ur (royal wives) include Ashusikildigir, Ninbanda, and Gansamannu. [ 14 ]

Kugbau ( circa 2,500 B. C.E.), a taverness from Kish chosen by the Nippur priesthood to become hegemonic ruler of Sumer. and in later ages deified as "Kubaba"

Tashlultum ( circa 2,400 B. C.E.), Akkadian queen, wife of Sargon of Akkad and mother of Enheduanna. [ 15 ] [ 16 ]

Baranamtarra ( circa 2,384 B. C.E.), prominent and influential queen of Lugalanda of Lagash. Other known pre-Sargonic queens of the first Lagash dynasty include Menbara-abzu, Ashume'eren, Ninkhilisug, Dimtur, and Shagshag, and the names of several princesses are also known.

Enheduanna ( circa 2,285 B. C.E.), [ 17 ] [ 18 ] the high priestess of the temple of the Moon God in the Sumerian city-state of Ur and possibly the first poet and first named author of either gender. [ 19 ]