Watch Model (1981) Full Movie Online Free

StoryLine:  Model 1981 In my entry on Juvenile Court, I discussed the metaphorical use of a documentary subject Should a subject reflect only itself, or can it be used to reflect a broader contextThe issue of using events in documentary films to focus on broader events could be discussed further using Wisemans film Model as an example This film has been criticized for lacking the edge of Wisemans earlier films, and indeed, there at first dont appear to be any stand out scenes that leap out at the viewer One would have thought that with a subject such as the fashion industry, Wiseman would have a lot to say concerning class and culture Upon closer inspection however, one can see details that reflect subtle comments about the subjects The detachment from the subject could be a reflection of the coldness of the atmosphere There are many examples of this In his essay Wisemans Model and the Documentary Project, Dan Armstrong writes In sequence after sequence he shows us models at work, presenting themselves to the camera after being suitably dressed, painted combed, brushed, placed into a context, and moved about They are, in effect, so many props, inanimate objects, mannequins to display the clothing and project personality In one revealing sequence, three French models get the pose right only after following directions to ignore one another Pretend youre mannequins in a Bloomingdale window Armstrong goes on to talk of a scene where male models stand in the corner of a room during a party, in frozen mannequin poses, sometimes framing them between some of the beautiful party goers Armstrong also mentions Wisemans repeated use of mannequins, employing them as symbols of the commodified self, the individual as object and product of the market What should we make of Wisemans detached viewPerhaps ultimately we should all judge for ourselves Wiseman makes his films to try to bring a point across, but not force it As Wiseman in a 2000 interview with Film Maker magazine put it The notion that my films could be objective I dont know how to deal with that Every aspect of filmmaking represents a choice, whether its the choice of subject matter, the way its shot the way its edited, the length of the film, or the duration and order of the sequences So Ive never been able to get involved in this objectivity business But at the same time, the word I substitute for objective is fair And again, thats totally subjective But I mean fair in the sense that I try to be open to the experience I have in making the film I try not to impose my preconceived ideas onto the material We have here an example of a filmmaker whom although makes films with a certain goal, there is enough in them to suggest that he is aware of other opinions and regards them as well As for whether his films are exploitative, it could be said that what a person brings to the film, his or her opinion about what they have seen, is entirely their own, and has nothing to do with Wiseman Ultimately, it could be said that he just makes films, and despite what believes about what he has filmed, what is ethical, or what is unethical, is only what we agree, or disagree with