Citation :
« [Handtinting], a five-minute silent study of young girls dancing, swimming, and observing one another by Joyce Wieland, [...] has a quality that is reminiscent of cognitive dilemmas in some of her other films but that has few counterparts in avant-garde cinema of the sixties. The playful tone of Handtinting matches the energies of its human subjects, suggesting a lyrical romp in the tradition of Shirley Clarke or Marie Menken, while its narrow focus and set of recurring formal gestures point to any underlying conceptual rigor more in tune with the work of Wieland's occasional collaborator and close friend Hollis Frampton. »
-- Paul Arthur

Source :
ARTHUR, Paul. « Different/Same/Both/Neither: The Polycentric Cinema of Joyce Wieland » , dans Women's Experimental Cinema: Critical Frameworks, sous la direction de Robin Blaetz, Durham, Duke University Press, 2007. [en anglais] (p. 45)