Joyce Wieland
Country: Canada
Born: 1931
Died: 1998
Films directed by Joyce Wieland
Quotes by Joyce Wieland
"Certain Canadian critics have not yet discovered that the profound interaction of foreground and background creates the film's visual totality. D.W. Griffith, Bresson and Vigo have been sources of inspiration for my films. And I think that this runs contrary to the values of the current Hollywood and Canadian film industries."
-- Joyce Wieland
(source)
"I really think there is a female aesthetic. [...] It feels different to be a woman, so naturally the films are going to be different."
-- Joyce Wieland
(source)
"They [projectionists in New York] ran my films with others about a month ago in a Bleeker Street film house. They ran them upside down, the sound was all wrong and it was all so bad that the man who arranged the program stopped the films and gave the audience its money back."
-- Joyce Wieland
(source)
"When Anthology Films came into existence in New York, which was a place to collect classics of the New Cinema as well as world cinema, the founders of it were the same men who judged which films were classics and which weren't. Naturally they got a selection of the male Structuralists and didn't choose any films made by women. Since their policy was never to give out reasons of choice or rejection, I never had a clue, and had to surmise that none of my works were classics. [...] The whole thing I am talking about made me very strong because I left it behind. It is no different than what has happened to many other women. It is really a wonder that any women filmmakers have managed to survive."
-- Joyce Wieland
(source)
Quotes about Joyce Wieland
"I was so struck by the way Joyce [Wieland's] films stayed alive. They have a conceptual richness that can't be ascribed to just one historical moment. There's a humor that runs through her work, but also a sense of excess and exuberance—a joy in the body, in flesh and in light."
-- Kay Armatage
(source)
"To a hermetic art scene that was characterized by a 'subjectless' attention to the materiality of the medium—sprocket holes, zoom lenses, static shots, duration, and time—[Joyce] Wieland brought irreverence, painterly intensity, humour, and politics."
-- Kay Armatage
(source)
"Despite her critical and interpersonal entanglements in the structural film initiative, [Joyce] Wieland characteristically fashioned an idiosyncratic position that could simultaneously borrow from, critique, and transcend stylistic prerogatives identified with each camp."
-- Paul Arthur
(source)
"Using cinema as a means of personal expression within the canonized structural film movement, [Joyce] Wieland developed a uniquely feminist lexicon that addressed women's views, experiences and voices. She infused the often modernist or minimalist concerns of the avant-garde with what has come to be known and designated as the feminine."
-- Kass Banning
(source)
"Joyce Wieland's films elude easy categorization. The body of work as a
whole is varied—there are films of a formal nature, and others which are
less so. Several are political, concerned with technology, ecology, and her
native land, Canada. Her films are informed by her involvement in other,
more directly tactile art forms—painting, drawing, construction—and in crafts such as quilting."
-- Regina Cornwell
(source)
"The relaxation of the rigours of structural filmmaking in [Joyce] Wieland's films is indicated in the way her work often includes anecdotes, symbols and sentimental references. More important still is her use of diverse materials, including representational imagery, written texts and surface infractions—patterns created by perforating the film."
-- R. Bruce Elder
(source)
"The films of Joyce Wieland, the well known Canadian artist and filmmaker, were repetitious and generally excruciatingly boring for the majority of the audience [at a conference on women in film and video]. But Wieland feels, a la Gertrude Stein, that there is no such thing as repetition. There is always something new to experience—an interesting theoretical point which may obviously break down in practice."
-- Barbara M. Finkleman
(source)
"The artist Joyce Wieland talks about finding her voice as a woman while living in New York in the 1960s, where the art world was very male dominated and intellectual. 'I found this very troubling,' she remembers. 'The message was that if women wanted to be taken seriously as artists, we had to deny our experience and identity as women.' Once she recognized this conflict, she began to search for ways to make her femininity part of her work. 'I made a film about being trapped in a kitchen. Then I began to work in cloth. By introducing these elements of domesticity, I was desperately attempting to legitimize my work in terms of my own experience.'"
-- Judith Finlayson
(source)
"In her films of the Canadian landscape, in her quilts made up of patriotic emblems and slogans, in her embroidery pieces related to Canadian history, [Joyce Wieland] is now moving into position as the visual poet of 1970s Canadian nationalism."
-- Robert Fulford
(source)
"[Joyce] Wieland's complete filmic archives were donated to the Cinémathèque québécoise following her death in 1998. With her film distributor, the Canadian Filmmakers Distribution [Centre] (CFMDC), a DVD compilation entitled The Complete Works of Joyce Wieland was produced in 2011 that brings together sixteen shorts and two feature films that Wieland produced in her lifetime. As an unfinished film, Wendy and Joyce is not among these eighteen films, but a rough assembly and some disparate film and sound elements labelled 'Wendy and Joyce' are housed at the Cinémathèque, while her paper-based notes and sound elements are held in the Clara Thomas Archives and Special Collections at York University."
-- Monika Kin Gagnon
(source)
"An internationally acclaimed painter and filmmaker, [Joyce Wieland] was the first
female living artist to have a solo show at the National Gallery of Canada
and at the Art Gallery of Ontario. Wieland was a major figure in the
avant-garde film scene of the 1960s and '70s and, together with Michael
Snow, was one of the founders of Canadian experimental cinema. She
may also be the first underground filmmaker to make the transition to the
commercial film industry and was certainly only one of a handful of women
feature-film directors in Canada at that time."
-- Barbara Goslawski
(source)
"Scholarship on [Joyce] Wieland's films tends to only hint at the question of address and multiplicity of voice in her work, which is mostly due to how these interpretations focus solely on works of her performance in front or behind the camera, as opposed to examining her feminist praxis, her creative process, her role play that happens on and off camera, in and out of the studio and into real life."
-- Maryse. C. Larivière
(source)
"[Joyce] Wieland's work as a filmmaker is complex. Her irony carries with it no edge of cynicism, her feminism is unabashedly celebratory and her vision at times can be unnervingly naïve [...]. Yet, she in no way conceded to the narrow definitions of what it was to be an artist in her era. Her 'celebration of the personal' and yearning to positively commune with others suggests a radicalism that extends far beyond the values of her time."
-- Anne Low
(source)
"By deliberately choosing to glorify the materials accessible to the shut-in housewife, [Joyce] Wieland has found a space to breathe. Cats, mice, the kitchen table and sink, teacups and teapots are all a part of her repertoire. Wearing the nametags that have been lavished upon her—most significantly, 'the ultimate feminine artist'—Wieland admits that domestic trappings have provided a strength for her work."
-- Debbie Magidson and Judy Wright
(source)
"Consistently employing materials and themes linked to the private sphere of women's experiences, Joyce Wieland's films introduce the identity politic so crucial to the exploration of sexual difference in feminist films of the 1970s and 1980s."
-- Janine Marchessault
(source)
"[Joyce Wieland] is in Toronto for a retrospective of her work at York University's Glendon College. She also showed several of her films—Catfood, Sailboat, 1933 and Rat Life and Diet in North America—at a screening at Film House this week. They're not the kind of films you'd expect from a woman. They're funny and political, the sort of thing a Frank Zappa or an Andy Warhol might come up with. And they reveal her intense concern about the state the world is in."
-- Melinda McCracken
(source)
"Unlike some of the work within [the experimental film] tradition, [Joyce] Wieland does not resort to pure abstraction, to a complete denial of reference. Nor, however, does she surrender to mainstream expression. Wieland's self-reflexivity is not only a 'device' to explore the nature of cinema. She makes the viewer aware of the filmmaking process in order to sharpen perception for a greater end. Wieland's work is indeed about film, but also considers concrete political issues. It is not a cinema only of itself; it is rather a cinema that is aware of the society that gave it birth."
-- Lianne M. McLarty
(source)
"Can story line find its place in abstract film-making? There is no reason why it should not, if the film-maker wants it. Plot frequently offers something for the mind to cling to after the heightened impressions of abstract film have vanished. Joyce Wieland, of Toronto and New York, joins the two types of expression in a unique way, as film devotees learned last night during her discussing and showing of her films as part of the Museum of Art Film Section's continuing program in Carnegie Lecture Hall."
-- Donald Miller
(source)
"Joyce Wieland's reputation in this country [the United Kingdom] rests largely on two 'structural' films she made in the '60s—1933 and Sailboat—which have since become classics of that mode of film-making. [...] So Canada House's recent retrospective of her film-work 'In Search of the Far Shore,' curated by Simon Field, provided a unique opportunity to see and to assess a substantial amount of work previously available in this country."
-- Michael O'Pray
(source)
"Joyce Wieland is deeply disturbed about U.S. financial interests in her native Canada, and it shows in her films. A guest of the Independent Filmmakers Series at Carnegie Institute, Miss Wieland showed and discussed three of her works at Carnegie Lecture Hall last night."
-- Maggie Patterson
(source)
"Joyce Wieland's films are among the most endearing I have ever seen, making her point and sealing the issue in a womanly way without any concern for ragged edges. La Raison avant la Passion is a whirlwind view of Canada with an anti-dialectical premise. Rat Life and Diet in North America is a very funny film, way beyond satire; her images are improbable, ironically accurate, and heartwarming. What will her big features be like?"
-- Douglas Pringle
(source)
"Kay Armatage's 1987 documentary film about Joyce Wieland feels like a giant bear hug. Artist on Fire: The Work of Joyce Wieland is a warm, insightful and loving portrait of a passionate, creative and daring woman. Weaving together excerpts from her experimental films, interviews with her contemporaries and friends and candid shots of the artist puttering around her apartment or making paintings, Ms. Armatage reveals the incredible spirit, diversity and commitment of Ms. Wieland without elevating her to untouchable art-goddess status. The 55-minute film is being shown at the Princess Court Cinema on Monday night as the second part of a screening of films honoring [Joyce Wieland's] three-day stay in Kingston as a Queen's University visiting scholar in art and film."
-- Jennie Punter
(source)
"By exploring relationships between language, text and image, by increasingly using that relationship for exploring narrativity, [Joyce] Wieland's development in experimental films prefigures the cinematic work of such feminist filmmakers as Yvonne Rainer and Babette Mangolte. Wieland's films offer feminist solutions for integrating materials, processes and themes that resolutely emphasize formal manipulations of subjective screen space, point of view and temporality. Through its exploration of political, formal and conceptual options, Wieland's work becomes an important link in the feminist artistic heritage."
-- Lauren Rabinovitz
(source)
"In her cinematic explorations from 1965 to 1968, [Joyce] Wieland uses familiar elements from her earlier work: repetition, sensuous colors, textures, and tones in order to examine the trappings of domesticity—household pets, the kitchen table, dishes, and a fixed view of the street outside one's window. The loop printing and slight variations emphasize specific details as the movements recur so that the incomplete actions never extend beyond the frame to illusionistic off-screen space. Without completed actions creating any sense of spatial depth, the frame forms the parameters of activity and forces an acknowledgement of the image as two-dimensional. Wieland's superimposed on-screen lettering further fixes the image as a flat rectangle of colors, shapes, and implied textures organized around a central space. Thus, the early structural films parallel and develop the peculiar magnified point-of-view, focus on detail, voluptuous expressive tones, and central spatial organization that Wieland first exhibited in [her 1961 painting] Balling."
-- Lauren Rabinovitz
(source)
"[In Pierre Vallières (1972), Joyce] Wieland focuses entirely on the lips of an eloquent separatist, echoing and expanding her paintings of lips, several of which (West 4th, 1963) in themselves echoed film strips. In fact, her oeuvre is notable for its wholeness. Those circles and lips (and those circular lips) can be found not only in the paintings and in Pierre Vallières, but in the other films as well—in the feature The Far Shore (1976), when the hero and heroine silently mouth words to each other through magnifying glasses, and in Water Sark (1965), where domestic items on a kitchen table are presented with reverence and are filmed through glasses of water, and in Reason over Passion (1969), in which Wieland mouths the national anthem, and most of all in Birds at Sunrise (shot in 1972, completed in 1986), which literally sees through a circle—Wieland photographed birds through cardboard tubes [...] and in the process exalted them, both sensually and spiritually, in a fashion that recalls O'Keefe's canonization of flowers."
-- Jay Scott
(source)
"Joyce Wieland's films gather together what matters—matters of heart, home and country, in a language of flesh and of roses, a language of love. Her concern is to make an ecological vision, one that has respect for all things, what matters: plant matter, animals, people, history, politics, art, the landscape itself."
-- Leila Sujir
(source)
"One truth [Joyce Wieland's] films came to share with the experimental filmmakers of the mid-1960s is that the film viewer's position is the paradoxical one of the intimate outsider. Wieland often explores this outsider's place in the film process, as she does for example with the close-up mirrored mise en scène of Water Sark (1964-1965) and the shot/countershot flow of A and B in Ontario (shot in the 1960s but only completed in 1984). But just as Wieland often prefers to border her serial works dealing with disasters with a soft, tactile frame, her films often emphasize the frame line to help position the spectator outside the spectacle. This is not so much an exclusion as it is a welcoming into intimacy on this side of the viewfinder."
-- Bart Testa
(source)
"Critics have responded to the films of Joyce Wieland with a remarkable variety of partisan intensities and conceptual perspectives. One premise consistently appears, however, if only as a disclaimer: Wieland as enigma and contradiction."
-- Michael Zyrd
(source)
For QUOTES about a specific film by Joyce Wieland, please see: Tea in the Garden
A Salt in the Park
Patriotism, Part I
Water Sark
Barbara's Blindness
Handtinting
Cat Food
Sailboat
Bill's Hat
1933
Rat Life and Diet in North America
Dripping Water
La raison avant la passion
Pierre Vallières
Solidarity
The Far Shore
A and B in Ontario
Birds at Sunrise
Notes about Joyce Wieland
(sources)
Bibliography for
Joyce
Wieland
Section 1: Publications by Joyce Wieland
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Fleming, Marie, Lucy Lippard, Lauren Rabinovitz, and Joyce Wieland. Joyce Wieland. Toronto: Key Porter Books / Art Gallery of Ontario = Musée des
beaux-arts de l'Ontario, 1987.
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Frampton, Hollis, and Joyce Wieland. "'I Don't Even Know about the Second Stanza' [transcription of 1971 conversation]."
In The Films of Joyce Wieland, edited by Kathryn Elder, 160-181. Toronto: Toronto International Film Festival Group, 1999.
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Reid, Alison, Pierre Théberge, and Joyce Wieland. Joyce Wieland: Drawings for 'The Far Shore' = Joyce Wieland : dessins pour 'The Far Shore'. Ottawa: National Gallery of Canada = Musée des beaux-arts du Canada, 1978.
[English / French]
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Wieland, Joyce. "Artist Wieland finds maturity." Toronto Star, April 27, 1980.
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Wieland, Joyce. "Internalview." Canadian Woman Studies / Les Cahiers de la femme 8, no. 4 (Winter 1987): 33-37.
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Wieland, Joyce. Joyce Wieland: Writings and Drawings 1952-1971. Edited by Jane Lind. Erin, Ont.: Porcupine's Quill, 2010.
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Wieland, Joyce. "North America's second all-woman film crew." Take One (Montreal), vol. 1, no. 8, 1968.
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Wieland, Joyce. True Patriot Love = Véritable amour patriotique. Ottawa: National Gallery of Canada = Musée des beaux-arts du Canada, 1971.
[English / French]
Section 2: Publications about Joyce Wieland
Books
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Elder, Kathryn, ed. The Films of Joyce Wieland. Toronto: Toronto International Film Festival Group, 1999.
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Lind, Jane. Joyce Wieland: Artist on Fire. Toronto: James Lorimer, 2001.
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Nowell, Iris. Joyce Wieland: A Life in Art. Toronto: ECW Press, 2001.
Book Chapters
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Armatage, Kay. "Fluidity: Joyce Wieland's Political Cinema."
In The Gendered Screen: Canadian Women Filmmakers, edited by Brenda Austin-Smith and George Melnyk, 95-112. Waterloo, Ont.: Wilfrid Laurier University Press, 2010.
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Armatage, Kay. "Interview with Joyce Wieland."
Interview with Joyce Wieland.
In Women and the Cinema: A Critical Anthology, edited by Karyn Kay and Gerald Peary. New York: Dutton, 1977.
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Armatage, Kay. "Kay Armatage Interviews Joyce Wieland."
Interview with Joyce Wieland. ["[Originally published in] Take One 3, no. 2."]
In The Films of Joyce Wieland, edited by Kathryn Elder, 152-159. Toronto: Toronto International Film Festival Group, 1999.
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Arthur, Paul. "Different/Same/Both/Neither: The Polycentric Cinema of Joyce Wieland."
In Women's Experimental Cinema: Critical Frameworks, edited by Robin Blaetz, 45-66. Durham: Duke University Press, 2007.
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Cornwell, Regina. "True Patriot Love: The Films of Joyce Wieland."
["Reprinted from Artforum, vol. 10, no. 1
(September 1971)."]
In Canadian Film Reader, edited by Seth Feldman and Joyce Nelson, 285-289. Toronto: Peter Martin Associates, 1977.
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Elder, Kathryn. "Joyce Wieland: A Bibliographic Guide to the Film Literature."
In The Films of Joyce Wieland, edited by Kathryn Elder, 213-251. Toronto: Toronto International Film Festival Group, 1999.
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Elder, R. Bruce. "Joyce Wieland and the Canadian Experimental Cinema."
["From Image and Identity: Reflections on Canadian Film and Culture, Wilfrid Laurier University (Waterloo, Ont. 1989), 258-262 [...] Revised for this edition."]
In The Films of Joyce Wieland, edited by Kathryn Elder, 64-71. Toronto: Toronto International Film Festival Group, 1999.
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Elder, R. Bruce. "Notes after a Conversation between Hollis and Joyce."
In The Films of Joyce Wieland, edited by Kathryn Elder, 182-193. Toronto: Toronto International Film Festival Group, 1999.
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Gagnon, Monika Kin. "Unfinished Films and Posthumous Cinema: Charles Gagnon's R69 and Joyce Wieland's Wendy and Joyce."
In Cinephemera: Archives, Ephemeral Cinema, and New Screen Histories in Canada, edited by Gerda Cammaer and Zoë Druick, 137-158. Montreal: McGill-Queen's University Press, 2014.
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Goslawski, Barbara. "Filmography."
["[Originally published in] Take One 7, no. 21 (Fall 1998): 20. Revised for this edition."]
In The Films of Joyce Wieland, edited by Kathryn Elder, 261-264. Toronto: Toronto International Film Festival Group, 1999.
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Magidson, Debbie, and Judy Wright. "True Patriot Love."
["[Originally published in] Art and Artists 8 (October 1973): 39-41."]
In The Films of Joyce Wieland, edited by Kathryn Elder, 80-85. Toronto: Toronto International Film Festival Group, 1999.
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McLarty, Lianne M. "The Experimental Films of Joyce Wieland."
["[Originally published in] Ciné-Tracts 17 (Summer-Fall 1982): 51-63."]
In The Films of Joyce Wieland, edited by Kathryn Elder, 86-105. Toronto: Toronto International Film Festival Group, 1999.
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Rabinovitz, Lauren. "After the Avant-Garde: Joyce Wieland and New Avant-Gardes in the 1970s."
In Points of Resistance: Women, Power & Politics in the New York Avant-Garde Cinema, 1943-71, 2nd ed., 184-215. Urbana: University of Illinois Press, 2003.
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Rabinovitz, Lauren. "The Development of Feminist Strategies in the Experimental Films of Joyce Wieland."
["[Originally published in] Film Reader 5 (1982): 132-140."]
In The Films of Joyce Wieland, edited by Kathryn Elder, 106-117. Toronto: Toronto International Film Festival Group, 1999.
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Rabinovitz, Lauren. "Joyce Wieland and the Ascendency of Structural Film."
In Points of Resistance: Women, Power & Politics in the New York Avant-Garde Cinema, 1943-71, 2nd ed., 150-183. Urbana: University of Illinois Press, 2003.
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Sujir, Leila. "'A Language of Flesh and Roses'."
["[Originally published in] Canada House Bulletin (London, U.K., Jan.-Feb. 1988)."]
In The Films of Joyce Wieland, edited by Kathryn Elder, 146-151. Toronto: Toronto International Film Festival Group, 1999.
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Zyrd, Michael. "'There Are Many Joyces': The Critical Reception of the Films of Joyce Wieland."
In The Films of Joyce Wieland, edited by Kathryn Elder, 194-212. Toronto: Toronto International Film Festival Group, 1999.
Brief Sections of Books
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Acker, Ally. Reel Women: Pioneers of the Cinema, the First Hundred Years. New York: Reel Women Media Publishing, 2011.
(vol. 1, pp. 99-100)
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Dorland, Michael. "Beyond Shame and Glory: Preface to a Critical Dialogue in Canadian/Québécois Cinema."
In Dialogue : cinéma canadien et québécois = Dialogue: Canadian and Quebec Cinema, edited by Michael Dorland, Seth Feldman, and Pierre Véronneau. Montréal: Mediatexte Publications, 1987.
[English / French] (pp. 320-322)
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Elder, R. Bruce. Image and Identity: Reflections
on Canadian Film and Culture. Waterloo, Ont.: Wilfrid Laurier University Press, 1989.
(pp. 258-262)
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Marchessault, Janine. "Feminist Avant-Garde Cinema: From Introspection to Retrospection."
In Gendering the Nation: Canadian
Women's Cinema, edited by Kay Armatage, Kass Banning, Brenda Longfellow, and Janine Marchessault. Toronto: University of Toronto Press, 1999.
(pp. 139-141)
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Metz, Walter. "'What Went Wrong?': The American Avant-Garde Cinema of the 1960s."
In The Sixties, 1960-1969, edited by Paul Monaco. History of the American Cinema, vol. 8. New York: Charles Scribner's Sons, 2001.
(pp. 254-258)
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Porter, John. "Toronto Artists' Film Activity, 1950-1969."
In Explosion in the Movie Machine: Essays and Documents on Toronto Artists' Film and Video, edited by Chris Gehman. Toronto: Images Festival and Liaison of Independent Filmmakers of Toronto, 2013.
(pp. 24-26)
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Sloan, Johanne. "Mutable Views: Landscape at the Intersection of Cinema and Contemporary Art."
In The Oxford Handbook of Canadian Cinema, edited by Janine Marchessault and Will Straw. New York: Oxford University Press, 2019.
(pp. 56-58)
Journal Articles
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Allan, Blaine. "The Films of Joyce Wieland." Review of The Films of Joyce Wieland, by Kathryn Elder. Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques 9, no. 2 (Autumn 2000): 82-85.
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Armatage, Kay. "Joyce Wieland, Feminist Documentary, and the Body of the Work." Canadian Journal of Political and Social Theory 13, no. 1-2 (1989): 91-101.
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Dixon, Wheeler Winston. "Reviews." Review of The Films of Joyce Wieland, by Kathryn Elder. Quarterly Review of Film and Video 18, no. 3 (July 2001): 328-335.
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Elder, Bruce. "All Things in Their Times." Ciné-Tracts 5, no. 1 (1982): 39-45.
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Grace, Sherrill. "Joyce Wieland: Artist on
Fire." Review of Joyce Wieland: Artist on Fire, by Jane Lind. Canadian Literature, no. 178 (2003): 150-151.
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Grace, Sherrill. "Joyce Wieland: Artist on
Fire." Review of Joyce Wieland: A Life in Art, by Iris Nowell. Canadian Literature, no. 178 (2003): 150-151.
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Holmes-Moss, Kristy A. "Negotiating the Nation:
'Expanding' the Work of Joyce Wieland." Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques 15, no. 2 (Autumn 2006): 20-43.
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McLarty, Lianne M. "The Experimental Films of Joyce Wieland." Ciné-Tracts 5, no. 1 (Summer-Autumn 1982): 51-62.
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Rabinovitz, Lauren. "The Development of Feminist Strategies in the Experimental Films of Joyce Wieland." Film Reader, no. 5 (1982): 132-140.
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Rabinovitz, Lauren. "An Interview with Joyce Wieland." Afterimage (May 1981): 8-12.
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Rabinovitz, Lauren. "Issues of Feminist Aesthetics:
Judy Chicago and Joyce Wieland." Woman's Art Journal 1, no. 2 (Autumn 1980): 38-41.
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Sloane, Johanne. "Joyce Wieland at the Border: Nationalism, the New Left, and the Question of Political Art in Canada." Journal of Canadian Art History 26 (2005): 80-107.
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Woodsworth, Anne. "An Interview with Joyce Wieland." Interview with Joyce Wieland. Descant (Spring-Summer 1974): 108-110.
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Zemans, Joyce. "A Tale of Three Women: The Visual
Arts in Canada / A Current Account/ing." RACAR (Revue d'art canadienne / Canadian Art Review) 25, no. 1-2 (1998): 103-122.
Brief Sections of Journal Articles
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Fischer, Craig. "Why Feminist Film Theory?" Review of The Films of Joyce Wieland, by Kathryn Elder. NWSA Journal 14, no. 2 (Summer 2002). (p. 178)
Articles from Newspapers, Magazines, or News Websites
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Armatage, Kay. "Kay Armatage interviews Joyce Wieland." Interview with Joyce Wieland. Take One (Montreal), vol. 3, no. 2 ['issue of Nov.-Dec, 1970; published Feb. 7, 1972'], November-December 1970.
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Armatage, Kay. "Wieland." Interview with Joyce Wieland. Take One (Montreal), February 1972.
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Banning, Kass. "The mummification of
Mommy: Joyce Wieland as the AGO's first living other." C Magazine, no. 13, 1987.
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Cornwell, Regina. "True Patriot Love: The Films of Joyce Wieland." Artforum, vol. 10, no. 1, September 1971.
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Crean, Susan M. "Forbidden fruit: The erotic nationalism of Joyce Wieland." This Magazine, August-September 1987.
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Dault, Gary Michael. "Artist was always exploring what it meant to be Canadian: appreciation. Joyce Wieland deflated the pretentious swaggering maleness in art with which she was invariably surrounded." Globe and Mail, June 30, 1998.
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Everett-Green, Robert. "Woman's point of view: Joyce Wieland: A passion for her country marked the tumultuous career of this artist." Globe and Mail, June 30, 1998.
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Freedman, Adele. "Biography: Goddess, matriarch, victim: Two new books examine Joyce Weiland's idiosyncratic art, fierce patriotism and hard life." Globe and Mail, October 27, 2001.
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Fulford, Robert. "Giving us a sense of ourselves." Toronto Star, July 10, 1971.
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Globe and Mail. "Film-maker casts Dwight Eisenhower eating fish." Interview with Joyce Wieland. Globe and Mail, December 2, 1967.
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Goslawski, Barbara. "An appreciation of the films of Joyce Wieland." Take One (Toronto), Autumn 1998.
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Goslawski, Barbara. "Experimental." Take One (Toronto), Winter 1997.
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James, Geoffrey. "The protean vision of Joyce Wieland." Maclean's, April 27, 1987.
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Johnson, Brian D. "Adieu to two pioneers: Joyce Wieland 1931-1998, Bill Reid 1920-1998." Maclean's, July 13, 1998.
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Kritzwiser, Kay. "Europe gets the drift of the Snows' avant-garde films." Globe and Mail, October 21, 1968.
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Larivière, Maryse. C. "'Phallus in Wonderland': role plays with Joyce Wieland." C Magazine, no. 138, Summer 2018.
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Lipzin, Janis Crystal. "Talking with Joyce Wieland." Cinema News, September-October 1978.
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Low, Anne. "Otherwise unexplained fires: Joyce Wieland and the experimental film scene in 1960s New York." C Magazine, Autumn 2008.
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MacDonald, Ingrid. "Indisputable splendour." Broadside, May 1987.
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Magidson, Debbie, and Judy Wright. "Interviews with Canadian artists: Debbie Magidson and Judy Wright interview Joyce Wieland." Interview with Joyce Wieland. Canadian Forum, May-June 1974.
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Magidson, Debbie, and Judy Wright. "True patriot love:
Debbie Magidson and Judy Wright discuss the work of Joyce Wieland." Art and Artists, October 1973.
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McCracken, Melinda. "Joyce thinks Canada is last hope for rats and people." Interview with Joyce Wieland. Globe and Mail, March 8, 1969.
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Miller, Donald. "Art films of Wieland stir mind." Pittsburgh Post-Gazette, March 9, 1972.
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O'Pray, Michael. "Video: Joyce Wieland: In Search of the Far Shore." Art Monthly, March 1988.
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Patterson, Maggie. "Canadian's films say 'rats' to U.S.." Interview with Joyce Wieland. Pittsburgh Press, March 9, 1972.
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Punter, Jennie. "A hug for Joyce Wieland." Review of Artist On Fire: The Work of Joyce Wieland. Kingston Whig-Standard, February 23, 1991.
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Scott, Jay. "Full circle." Canadian Art, March 1987.
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Sitney, P. Adams. "There is only one Joyce." Artscanada, April 1970.
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Spires, Randi. "True patriot love: Joyce Wieland's one-woman show." Canadian Forum, August-September 1987.
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Tuer, Dot. "Visions of the heroic: An interview with Kay Armatage." Interview with Kay Armatage. Cinema Canada, October 1987.
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Walker, Kathleen. "The artist as patriot." Interview with Joyce Wieland. Ottawa Citizen, October 23, 1976.
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Ward, Olivia. "Artist Joyce Wieland: blossoming at 50." Interview with Joyce Wieland. Toronto Star, February 8, 1981.
Documentaries
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Artist on Fire: The Work of Joyce Wieland. Directed by Kay Armatage. 1987.
-
A Film about Joyce Wieland. Directed by Judy Steed. 1972.
Dissertations
-
Buzzell, Judith E. "Media Orientations of Four Women Artists: Questions and Implications for Teaching Art." M.A. diss., Concordia University, 1989.
-
Conley, Christine Louise. "Daughters in Exile: Negotiating the Spaces of the Avant-Garde: Christiane Pflug and Joyce Wieland." M.A. diss., Carleton University, 1990.
-
Holmes, Kristy Arlene. "Negotiating the Nation: The Work of Joyce Wieland, 1968-1976." PhD diss., Queen's University, 2008.
-
Lussier, Julie. "Michael Snow et Joyce Wieland au regard des politiques culturelles canadiennes, 1970-1971." M.A. diss., Université de Montréal, 2003.
[in French]
-
Rabinovitz, Lauren Holly. "Radical Cinema: The Films and Film Practices of Maya Deren, Shirley Clarke and Joyce Wieland." PhD diss., University of Texas at Austin, 1982.
-
Stevenson, Barbara K. "The Political and Social Subject Matter in the Art of Joyce Wieland and Greg Curnoe." M.A. diss., Carleton University, 1987.
Web Sites
Section 3: Publications about the Films of Joyce Wieland
Brief Sections of Books
-
Nowell, Iris. Joyce Wieland: A Life in Art. Toronto: ECW Press, 2001.
(pp. 124-125)
Patriotism, Part I
(1964) (also known as:
"Patriotism 1")
Brief Sections of Books
-
Gittings, Christopher E. Canadian National Cinema: Ideology, Difference and Representation. London: Routledge, 2002.
(pp. 106-107)
-
Parpart, Lee. "Cowards, Bullies, and Cadavers: Feminist Re-Mappings of the Passive Male Body in English-Canadian and Québécois Cinema."
In Gendering the Nation: Canadian
Women's Cinema, edited by Kay Armatage, Kass Banning, Brenda Longfellow, and Janine Marchessault. Toronto: University of Toronto Press, 1999.
(pp. 256-259)
Dissertation Chapters
-
Parpart, Lee Anne. "Tube Steaks and Tiny Men, or Feminist Remappings of the Colonial Male Body in Patriotism I and II and La Vie Rêvée."
In "Nostalgic Nationalisms and the Spectacle of the Male Body in Canadian and Québécois Cinema," 78-125. M.F.A. diss., York University, 1997.
Book Chapters
-
Armatage, Kay. "The Feminine Body: Joyce Wieland's Water Sark."
In Dialogue : cinéma canadien et québécois = Dialogue: Canadian and Quebec Cinema, edited by Michael Dorland, Seth Feldman, and Pierre Véronneau, 283-295. Montréal: Mediatexte Publications, 1987.
[English / French]
Brief Sections of Books
-
Nowell, Iris. Joyce Wieland: A Life in Art. Toronto: ECW Press, 2001.
(pp. 228-237)
Journal Articles
-
Armatage, Kay. "Feminine Body: Joyce Wieland's Water Sark." Canadian Woman Studies / Les Cahiers de la femme 8, no. 1 (Spring 1987): 84-88.
Brief Sections of Books
-
Wees, William C. "Breaking New Ground: Canada's First Found Footage Films."
In Cinephemera: Archives, Ephemeral Cinema, and New Screen Histories in Canada, edited by Gerda Cammaer and Zoë Druick. Montreal: McGill-Queen's University Press, 2014.
(pp. 114-117)
Patriotism, Part II
(1965) (also known as:
"Patriotism 2")
Dissertation Chapters
-
Parpart, Lee Anne. "Tube Steaks and Tiny Men, or Feminist Remappings of the Colonial Male Body in Patriotism I and II and La Vie Rêvée."
In "Nostalgic Nationalisms and the Spectacle of the Male Body in Canadian and Québécois Cinema," 78-125. M.F.A. diss., York University, 1997.
Handtinting
(1967) (also known as:
"Hand Tinting")
Book Chapters
-
Banning, Kass. "Textual Excess in Joyce Wieland's 'Handtinting'."
["[Originally published in] CineAction 5 (Spring 1986): 12-14."]
In The Films of Joyce Wieland, edited by Kathryn Elder, 128-133. Toronto: Toronto International Film Festival Group, 1999.
Brief Sections of Books
-
Wees, William C. "Breaking New Ground: Canada's First Found Footage Films."
In Cinephemera: Archives, Ephemeral Cinema, and New Screen Histories in Canada, edited by Gerda Cammaer and Zoë Druick. Montreal: McGill-Queen's University Press, 2014.
(pp. 117-120)
Journal Articles
-
Banning, Kass. "Textual Excess in Joyce Wieland's 'Handtinting'." CineAction, no. 5 (Spring 1986): 12-14.
Dissertations
-
Banning, Ann Kathleen. "Exceeding the Frame: Implications of Excess in Two Films by Joyce Wieland." M.F.A. diss., York University, 1989.
Book Chapters
-
Cornwell, Regina. "Joyce Wieland: Wieland's Sailboat and '1933'."
["Extract from an article in Artforum."]
In Structural Film Anthology, edited by Peter Gidal, 139-140. London: British Film Institute, 1976.
Brief Sections of Books
-
Lind, Jane. Joyce Wieland: Artist on Fire. Toronto: James Lorimer, 2001.
(pp. 166-168)
Articles from Newspapers, Magazines, or News Websites
-
Beker, Marilyn. "Expanded cinema rocks gallery." Globe and Mail, November 30, 1967.
-
Dault, Gary Michael. "Bill's Hat." Artscanada, April 1968.
-
Kareda, Urjo. "Plastic bags have more life than Cinethon." Globe and Mail, June 16, 1967.
Book Chapters
-
Cornwell, Regina. "Joyce Wieland: Wieland's Sailboat and '1933'."
["Extract from an article in Artforum."]
In Structural Film Anthology, edited by Peter Gidal, 139-140. London: British Film Institute, 1976.
Brief Sections of Books
-
Lind, Jane. Joyce Wieland: Artist on Fire. Toronto: James Lorimer, 2001.
(pp. 159-160)
-
Nowell, Iris. Joyce Wieland: A Life in Art. Toronto: ECW Press, 2001.
(pp. 261-269)
Book Chapters
-
Holmes, Kristy A. "Negotiating Citizenship: Joyce Wieland's Reason over Passion."
In The Sixties: Passion, Politics, and Style, edited by Dimitry Anastakis, 42-70. Montreal: McGill-Queen's University Press, 2008.
-
Lellis, George. "La raison avant la passion."
["From Form and Structure in Recent Film, edited by Dennis Wheeler (Vancouver Art Gallery and Talon Books, 1972)."]
In The Films of Joyce Wieland, edited by Kathryn Elder, 56-63. Toronto: Toronto International Film Festival Group, 1999.
-
Missen, James. "Reason over Passion."
In The Cinema of Canada, edited by Jerry White, 62-70. London: Wallflower, 2006.
Brief Sections of Books
-
Gittings, Christopher E. Canadian National Cinema: Ideology, Difference and Representation. London: Routledge, 2002.
(pp. 107-109)
-
Lind, Jane. Joyce Wieland: Artist on Fire. Toronto: James Lorimer, 2001.
(pp. 174-175)
-
Nowell, Iris. Joyce Wieland: A Life in Art. Toronto: ECW Press, 2001.
(pp. 270-277)
Journal Articles
-
Holmes-Moss, Kristy A., and Barbara Stevenson. "Joyce Wieland:
Interview and Notes on Reason over Passion and Pierre Vallières." Interview with Joyce Wieland. Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques 15, no. 2 (Autumn 2006): 114-124.
Articles from Newspapers, Magazines, or News Websites
-
Hale, Barrie. "A pure new film of a pure land." Toronto Star, July 19, 1969.
-
Mendes, Ross. "Light: 24 frames per second." Canadian Forum, September 1969.
-
Pringle, Douglas. "La raison avant la passion, a film by Joyce Wieland, screened at The Global Village, Toronto, July 8." Review of La raison avant la passion. Artscanada, no. 134/135, August 1969.
-
Shamai, Ruth. "Filmmaker will raise Canadian conscience." Excalibur, March 8, 1973.
-
Siskind, Jacob. "Joyce Wieland's Reason Over Passion at Loyola Experimental Film Festival." Review of La raison avant la passion. Montreal Gazette, July 4, 1969.
Dissertations
-
Banning, Ann Kathleen. "Exceeding the Frame: Implications of Excess in Two Films by Joyce Wieland." M.F.A. diss., York University, 1989.
Dissertation Chapters
-
Broomer, Stephen. "Glowing Hearts: Joyce Wieland's La Raison avant la passion / Reason Over Passion (1969)."
In "Codes of the North: Difficulty in the Origins of the Canadian Avant-Garde Film," 177-205. PhD diss., Ryerson University & York University, 2015.
Brief Sections of Books
-
Lind, Jane. Joyce Wieland: Artist on Fire. Toronto: James Lorimer, 2001.
(pp. 206-208)
-
Nowell, Iris. Joyce Wieland: A Life in Art. Toronto: ECW Press, 2001.
(pp. 330-34)
Journal Articles
-
Holmes-Moss, Kristy A., and Barbara Stevenson. "Joyce Wieland:
Interview and Notes on Reason over Passion and Pierre Vallières." Interview with Joyce Wieland. Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques 15, no. 2 (Autumn 2006): 114-124.
Articles from Newspapers, Magazines, or News Websites
-
Cook, Pam. "Pierre Vallières." Monthly Film Bulletin, September 1983.
Brief Sections of Books
-
Nowell, Iris. Joyce Wieland: A Life in Art. Toronto: ECW Press, 2001.
(pp. 334-335)
The Far Shore
(1976) (also known as:
"L'autre rive", "True Patriot Love")
Books
-
Reid, Alison, Pierre Théberge, and Joyce Wieland. Joyce Wieland: Drawings for 'The Far Shore' = Joyce Wieland : dessins pour 'The Far Shore'. Ottawa: National Gallery of Canada = Musée des beaux-arts du Canada, 1978.
[English / French]
-
Sloan, Johanne. Joyce Wieland's The Far Shore. Toronto: University of Toronto Press, 2010.
Book Chapters
-
Armatage, Kay. "Wieland's Far Shore and Shipman's God's Country."
In Great Canadian Film Directors, edited by George Melnyk, 3-26. Edmonton: University of Alberta Press, 2007.
-
Fulford, Robert [Marshall Delaney, pseud.]. "Wielandism: A Personal Style in Full Bloom."
["Reprinted from Saturday Night, May 1976."]
In Canadian Film Reader, edited by Seth Feldman and Joyce Nelson, 278-282. Toronto: Peter Martin Associates, 1977.
-
Longfellow, Brenda. "Gender, Landscape, and Colonial
Allegories in The Far Shore, Loyalties, and Mouvements du désir."
In Gendering the Nation: Canadian
Women's Cinema, edited by Kay Armatage, Kass Banning, Brenda Longfellow, and Janine Marchessault, 165-182. Toronto: University of Toronto Press, 1999.
-
Rabinovitz, Lauren. "The Far Shore: Feminist Family Melodrama."
["[Originally published in] Jump Cut 32 (1987): 29-31."]
In The Films of Joyce Wieland, edited by Kathryn Elder, 118-127. Toronto: Toronto International Film Festival Group, 1999.
Brief Sections of Books
-
Culp, Jonathan. "Farther Shores: Experiments in Canadian Feature Narrative."
In Explosion in the Movie Machine: Essays and Documents on Toronto Artists' Film and Video, edited by Chris Gehman. Toronto: Images Festival and Liaison of Independent Filmmakers of Toronto, 2013.
(pp. 190-191)
-
Grace, Sherill. Inventing Tom Thomson: From Biographical Fictions to Fictional Autobiographies and Reproductions. Montreal: McGill-Queen's University Press, 2004.
(pp. 127-134)
-
Knelman, Martin. This Is Where We Came In: The Career and Character of Canadian Film. Toronto: McClelland and Stuart, 1977.
(pp. 162-164)
-
Lind, Jane. Joyce Wieland: Artist on Fire. Toronto: James Lorimer, 2001.
(pp. 209-235)
-
Nowell, Iris. Joyce Wieland: A Life in Art. Toronto: ECW Press, 2001.
(pp. 284-288, 312-313, 319-327, 374-376)
-
Sloan, Johanne. "Conceptual Landscape Art: Joyce Wieland and Michael Snow."
In Beyond Wilderness: The Group of Seven, Canadian Identity and Contemporary Art, edited by John O'Brian and Peter White. Montreal: McGill-Queen's University Press, 2007.
(pp. 76-78)
Journal Articles
-
Banning, Kass. "Allan King's A Married Couple by Zoe Druick, and: Joyce Wieland's The Far Shore by Joanne Sloan, and: Guy Maddin's My Winnipeg by Darren Wershler (review)." Review of Joyce Wieland's The Far Shore, by Johanne Sloan. University of Toronto Quarterly 83, no. 2 (Spring 2014): 558-562.
-
Feldman, Seth. "What They Wished For." Review of Joyce Wieland's The Far Shore, by Johanne Sloan. Canadian Literature, no. 213 (Summer 2012): 183-185.
-
Holmes, Kristy A. "Imagining and Visualizing 'Indianness' in Trudeauvian Canada: Joyce Wieland's The Far Shore and True Patriot Love." RACAR (Revue d'art canadienne / Canadian Art Review) 35, no. 2 (2010): 47-64.
-
Nicks, Joan. "Sex, Lies and Landscape: Meditations on Vertical Tableaux in The Far Shore and J.A. Martin, photographe." Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques 2, no. 2-3 (1993): 81-93.
-
Rabinovitz, Lauren. "Feminist Family Melodrama." Jump Cut, no. 32 (April 1986): 29-31.
-
Wordsworth, Anne. "An Interview with Joyce Wieland." Interview with Joyce Wieland. Descant, no. 8-9 (Spring-Summer 1974): 108-110.
Articles from Newspapers, Magazines, or News Websites
-
Auchterlonie, Bill. "Joyce Wieland: Filmmaker; The Far Shore/In Progress." Artmagazine, vol. 7, no. 24, December-January 1975/1976.
-
Blanchfield, Cecilia. "'My star is shining' says actress Celine." Interview with Celine Lomez. Montreal Gazette, June 17, 1978.
-
Boxoffice. "The Far Shore." Review of The Far Shore. Boxoffice, vol. 113, no. 25, September 25, 1978.
-
Cocchi, John. "American exhibitors eager to book Wieland's acclaimed 'The Far Shore'." Review of The Far Shore. Boxoffice, vol. 113, no. 25, September 25, 1978.
-
Dault, Gary Michael. "Movie looks gorgeous but acting ruins it." Review of The Far Shore. Toronto Star, September 24, 1976.
-
Fetherling, Doug. "Joyce Wieland in Movieland: What was a fine artist doing in a world of hype and hustle?" Toronto Star, January 24, 1976.
-
Fetherling, Doug. "Wieland's vision." Review of The Far Shore. Canadian Forum, vol. 51, no. 661, May 1976.
-
Fulford, Robert. "Tom Thomson film a canvas for beliefs, ideas of the 1970s." Globe and Mail, July 30, 1997.
-
Halpern Martineau, Barbara. "The Far Shore: A film about violence. A peaceful film about violence." Review of The Far Shore. Cinema Canada, April 1976.
-
Harcourt, Peter. "Joyce Wieland's The Far Shore." Review of The Far Shore. Take One (Montreal), vol. 5, no. 2, May 1976.
-
Kome, Penney. "Women on the go: Joyce Wieland; artist and filmmaker." Chatelaine, vol. 49, no. 4, April 1976.
-
Landsberg, Michele. "Joyce Wieland: Artist in Movieland." Chatelaine, October 1976.
-
Lanken, Dane. "Wieland feature explains well life and death of Tom Thomson." Montreal Gazette, August 7, 1976.
-
Leroux, André. "The Far Shore." Review of The Far Shore. Séquences, October 1976.
[in French]
-
Levinsohn, Lisl. "Skin Deep." Review of The Far Shore. Maclean's, October 18, 1976.
-
Lister, A. "Joyce Wieland." Interview with Joyce Wieland. Criteria, February 1976.
-
Magidson, Debbie. "Joyce Wieland's vision." Canadian Forum, vol. 55, no. 654, September 1975.
-
Martin, Robert. "Far Shore beautiful but flat." Review of The Far Shore. Globe and Mail, September 25, 1976.
-
Moses, Michele. "A glimpse of The Far Shore." Cinema Canada, no. 23, November 1975.
-
Ord, D. "An essay on Canadian (film)." Cinema Canada, June-July 1977.
-
Purdie, James. "The best Tom Thomson faker in the whole world." Globe and Mail, July 12, 1975.
-
Rasky, Frank. "Passionate painter and film-maker directs a classical romance." Toronto Star, September 18, 1976.
-
Read, Marilyn. "New Canadian feature film a mixture of humor and soap." Review of The Far Shore. Calgary Herald, August 9, 1976.
-
Ryweck, Charles. "The Far Shore." Review of The Far Shore. Hollywood Reporter, December 8, 1978.
-
Segal, Mike. "The Cinema." Review of The Far Shore. Canadian Review, vol. 3, no. 5, October 1976.
-
"The Far Shore truly Canadian—rather dull." Review of The Far Shore. Ottawa Citizen, August 6, 1976.
-
Taylor, Noel. "True patriot love for fledgling film-maker." Interview with Joyce Wieland. Ottawa Citizen, August 13, 1976.
-
Variety. "The Far Shore." Review of The Far Shore. Variety, August 18, 1976.
-
Wedman, Les. "The Far Shore: Director Joyce Wieland." Review of The Far Shore. Cinema Canada, November 1976.
Brief Sections of Books
-
Nowell, Iris. Joyce Wieland: A Life in Art. Toronto: ECW Press, 2001.
(pp. 418-420)
Archival Collections
These archival institutions have holdings related to Joyce Wieland or her films:
