Joyce Wieland

Films réalisés par Joyce Wieland

• Tea in the Garden (1958)
• A Salt in the Park (1959)
• Larry's Recent Behaviour (1963)
• Patriotism, Part I (1964)  (autre titre : « Patriotism 1 »)
• Peggy's Blue Skylight (1964)
• Barbara's Blindness (1965)
• Patriotism, Part II (1965)  (autre titre : « Patriotism 2 »)
• Water Sark (1965)
• Wow Sark (1966)
• 1933 (1967)
• Bill's Hat (1967)
• Cat Food (1967)  (autre titre : « Catfood »)
• Handtinting (1967)  (autre titre : « Hand Tinting »)
• Sailboat (1967)
• Rat Life and Diet in North America (1968)
• Dripping Water (1969)
• La raison avant la passion (1969)  (autre titre : « Reason over Passion »)
• Pierre Vallières (1972)
• Solidarity (1973)
• The Far Shore (1976)  (autres titres : « L'autre rive », « True Patriot Love »)
• A and B in Ontario (1984)
• Birds at Sunrise (1986)

Citations de Joyce Wieland [en anglais]

« 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)

Citations sur Joyce Wieland [en anglais]

« 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)

Pour lire les CITATIONS sur un film spécifique de Joyce Wieland, veuillez voir :   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 sur Joyce Wieland

• Née à Toronto.

Bibliographie sur Joyce Wieland

Section 1 : Publications de Joyce Wieland

• FLEMING, Marie, Lucy LIPPARD, Lauren RABINOVITZ et Joyce WIELAND. Joyce Wieland, Toronto, Key Porter Books / Art Gallery of Ontario = Musée des beaux-arts de l'Ontario, 1987. [en anglais]
• FRAMPTON, Hollis et Joyce WIELAND. « 'I Don't Even Know about the Second Stanza' [transcription of 1971 conversation] » , dans The Films of Joyce Wieland, sous la direction de Kathryn Elder, Toronto, Toronto International Film Festival Group, 1999, pp. 160-181. [en anglais]
• REID, Alison, Pierre THÉBERGE et 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. [anglais / français]
• WIELAND, Joyce. « Artist Wieland finds maturity », Toronto Star, 27 avril 1980. [en anglais]
• WIELAND, Joyce. « Internalview », Canadian Woman Studies / Les Cahiers de la femme, vol. 8, no. 4 (hiver 1987), pp. 33-37. [en anglais]
• WIELAND, Joyce. Joyce Wieland: Writings and Drawings 1952-1971, sous la direction de Jane Lind, Erin, Ont., Porcupine's Quill, 2010. [en anglais]
• WIELAND, Joyce. « North America's second all-woman film crew », Take One (Montreal), vol. 1, no. 8, 1968. [en anglais]
• WIELAND, Joyce. True Patriot Love = Véritable amour patriotique, Ottawa, National Gallery of Canada = Musée des beaux-arts du Canada, 1971. [anglais / français]

Section 2 : Publications sur Joyce Wieland

Livres

• ELDER, Kathryn, dir, The Films of Joyce Wieland, Toronto, Toronto International Film Festival Group, 1999. [en anglais]
• LIND, Jane. Joyce Wieland: Artist on Fire, Toronto, James Lorimer, 2001. [en anglais]
• NOWELL, Iris. Joyce Wieland: A Life in Art, Toronto, ECW Press, 2001. [en anglais]

Chapitres de livres

• ARMATAGE, Kay. « Fluidity: Joyce Wieland's Political Cinema » , dans The Gendered Screen: Canadian Women Filmmakers, sous la direction de Brenda Austin-Smith et George Melnyk, Waterloo, Ont., Wilfrid Laurier University Press, 2010, pp. 95-112. [en anglais]
• ARMATAGE, Kay. « Interview with Joyce Wieland » , entretien avec Joyce Wieland, dans Women and the Cinema: A Critical Anthology, sous la direction de Karyn Kay et Gerald Peary, New York, Dutton, 1977. [en anglais]
• ARMATAGE, Kay. « Kay Armatage Interviews Joyce Wieland » , entretien avec Joyce Wieland, ["[Originally published in] Take One 3, no. 2."] dans The Films of Joyce Wieland, sous la direction de Kathryn Elder, Toronto, Toronto International Film Festival Group, 1999, pp. 152-159. [en anglais]
• 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, pp. 45-66. [en anglais]
• CORNWELL, Regina. « True Patriot Love: The Films of Joyce Wieland » , ["Reprinted from Artforum, vol. 10, no. 1 (September 1971)."] dans Canadian Film Reader, sous la direction de Seth Feldman et Joyce Nelson, Toronto, Peter Martin Associates, 1977, pp. 285-289. [en anglais]
• ELDER, Kathryn. « Joyce Wieland: A Bibliographic Guide to the Film Literature » , dans The Films of Joyce Wieland, sous la direction de Kathryn Elder, Toronto, Toronto International Film Festival Group, 1999, pp. 213-251. [en anglais]
• 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."] dans The Films of Joyce Wieland, sous la direction de Kathryn Elder, Toronto, Toronto International Film Festival Group, 1999, pp. 64-71. [en anglais]
• ELDER, R. Bruce. « Notes after a Conversation between Hollis and Joyce » , dans The Films of Joyce Wieland, sous la direction de Kathryn Elder, Toronto, Toronto International Film Festival Group, 1999, pp. 182-193. [en anglais]
• GAGNON, Monika Kin. « Unfinished Films and Posthumous Cinema: Charles Gagnon's R69 and Joyce Wieland's Wendy and Joyce » , dans Cinephemera: Archives, Ephemeral Cinema, and New Screen Histories in Canada, sous la direction de Gerda Cammaer et Zoë Druick, Montreal, McGill-Queen's University Press, 2014, pp. 137-158. [en anglais]
• GOSLAWSKI, Barbara. « Filmography » , ["[Originally published in] Take One 7, no. 21 (Fall 1998): 20. Revised for this edition."] dans The Films of Joyce Wieland, sous la direction de Kathryn Elder, Toronto, Toronto International Film Festival Group, 1999, pp. 261-264. [en anglais]
• MAGIDSON, Debbie et Judy WRIGHT. « True Patriot Love » , ["[Originally published in] Art and Artists 8 (October 1973): 39-41."] dans The Films of Joyce Wieland, sous la direction de Kathryn Elder, Toronto, Toronto International Film Festival Group, 1999, pp. 80-85. [en anglais]
• MCLARTY, Lianne M. « The Experimental Films of Joyce Wieland » , ["[Originally published in] Ciné-Tracts 17 (Summer-Fall 1982): 51-63."] dans The Films of Joyce Wieland, sous la direction de Kathryn Elder, Toronto, Toronto International Film Festival Group, 1999, pp. 86-105. [en anglais]
• RABINOVITZ, Lauren. « After the Avant-Garde: Joyce Wieland and New Avant-Gardes in the 1970s » , dans Points of Resistance: Women, Power & Politics in the New York Avant-Garde Cinema, 1943-71, 2nd ed., Urbana, University of Illinois Press, 2003, pp. 184-215. [en anglais]
• RABINOVITZ, Lauren. « The Development of Feminist Strategies in the Experimental Films of Joyce Wieland » , ["[Originally published in] Film Reader 5 (1982): 132-140."] dans The Films of Joyce Wieland, sous la direction de Kathryn Elder, Toronto, Toronto International Film Festival Group, 1999, pp. 106-117. [en anglais]
• RABINOVITZ, Lauren. « Joyce Wieland and the Ascendency of Structural Film » , dans Points of Resistance: Women, Power & Politics in the New York Avant-Garde Cinema, 1943-71, 2nd ed., Urbana, University of Illinois Press, 2003, pp. 150-183. [en anglais]
• SUJIR, Leila. « 'A Language of Flesh and Roses' » , ["[Originally published in] Canada House Bulletin (London, U.K., Jan.-Feb. 1988)."] dans The Films of Joyce Wieland, sous la direction de Kathryn Elder, Toronto, Toronto International Film Festival Group, 1999, pp. 146-151. [en anglais]
• ZYRD, Michael. « 'There Are Many Joyces': The Critical Reception of the Films of Joyce Wieland » , dans The Films of Joyce Wieland, sous la direction de Kathryn Elder, Toronto, Toronto International Film Festival Group, 1999, pp. 194-212. [en anglais]

Brèves parties de livres

• ACKER, Ally. Reel Women: Pioneers of the Cinema, the First Hundred Years, New York, Reel Women Media Publishing, 2011. [en anglais] (vol. 1, pp. 99-100)
• DORLAND, Michael. « Beyond Shame and Glory: Preface to a Critical Dialogue in Canadian/Québécois Cinema » , dans Dialogue : cinéma canadien et québécois = Dialogue: Canadian and Quebec Cinema, sous la direction de Michael Dorland, Seth Feldman et Pierre Véronneau, Montréal, Mediatexte Publications, 1987. [anglais / français] (pp. 320-322)
• ELDER, R. Bruce. Image and Identity: Reflections on Canadian Film and Culture, Waterloo, Ont., Wilfrid Laurier University Press, 1989. [en anglais] (pp. 258-262)
• MARCHESSAULT, Janine. « Feminist Avant-Garde Cinema: From Introspection to Retrospection » , dans Gendering the Nation: Canadian Women's Cinema, sous la direction de Kay Armatage, Kass Banning, Brenda Longfellow et Janine Marchessault, Toronto, University of Toronto Press, 1999. [en anglais] (pp. 139-141)
• METZ, Walter. « 'What Went Wrong?': The American Avant-Garde Cinema of the 1960s » , dans The Sixties, 1960-1969, sous la direction de Paul Monaco, New York, Charles Scribner's Sons, 2001, History of the American Cinema, vol. 8. [en anglais] (pp. 254-258)
• PORTER, John. « Toronto Artists' Film Activity, 1950-1969 » , dans Explosion in the Movie Machine: Essays and Documents on Toronto Artists' Film and Video, sous la direction de Chris Gehman, Toronto, Images Festival and Liaison of Independent Filmmakers of Toronto, 2013. [en anglais] (pp. 24-26)
• SLOAN, Johanne. « Mutable Views: Landscape at the Intersection of Cinema and Contemporary Art » , dans The Oxford Handbook of Canadian Cinema, sous la direction de Janine Marchessault et Will Straw, New York, Oxford University Press, 2019. [en anglais] (pp. 56-58)

Articles de revues scientifiques

• ALLAN, Blaine. « The Films of Joyce Wieland », critique de The Films of Joyce Wieland, par Kathryn Elder, Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques, vol. 9, no. 2 (automne 2000), pp. 82-85. [en anglais]
• ARMATAGE, Kay. « Joyce Wieland, Feminist Documentary, and the Body of the Work », Canadian Journal of Political and Social Theory, vol. 13, no. 1-2 (1989), pp. 91-101. [en anglais]
• DIXON, Wheeler Winston. « Reviews », critique de The Films of Joyce Wieland, par Kathryn Elder, Quarterly Review of Film and Video, vol. 18, no. 3 (juillet 2001), pp. 328-335. [en anglais]
• ELDER, Bruce. « All Things in Their Times », Ciné-Tracts, vol. 5, no. 1 (1982), pp. 39-45. [en anglais]
• GRACE, Sherrill. « Joyce Wieland: Artist on Fire », critique de Joyce Wieland: Artist on Fire, par Jane Lind, Canadian Literature, no. 178 (2003), pp. 150-151. [en anglais]
• GRACE, Sherrill. « Joyce Wieland: Artist on Fire », critique de Joyce Wieland: A Life in Art, par Iris Nowell, Canadian Literature, no. 178 (2003), pp. 150-151. [en anglais]
• HOLMES-MOSS, Kristy A. « Negotiating the Nation: 'Expanding' the Work of Joyce Wieland », Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques, vol. 15, no. 2 (automne 2006), pp. 20-43. [en anglais]
• MCLARTY, Lianne M. « The Experimental Films of Joyce Wieland », Ciné-Tracts, vol. 5, no. 1 (été-automne 1982), pp. 51-62. [en anglais]
• RABINOVITZ, Lauren. « The Development of Feminist Strategies in the Experimental Films of Joyce Wieland », Film Reader, no. 5 (1982), pp. 132-140. [en anglais]
• RABINOVITZ, Lauren. « An Interview with Joyce Wieland », Afterimage (mai 1981), pp. 8-12. [en anglais]
• RABINOVITZ, Lauren. « Issues of Feminist Aesthetics: Judy Chicago and Joyce Wieland », Woman's Art Journal, vol. 1, no. 2 (automne 1980), pp. 38-41. [en anglais]
• SLOANE, Johanne. « Joyce Wieland at the Border: Nationalism, the New Left, and the Question of Political Art in Canada », Journal of Canadian Art History, vol. 26 (2005), pp. 80-107. [en anglais]
• WOODSWORTH, Anne. « An Interview with Joyce Wieland », entretien avec Joyce Wieland, Descant (printemps-été 1974), pp. 108-110. [en anglais]
• ZEMANS, Joyce. « A Tale of Three Women: The Visual Arts in Canada / A Current Account/ing », RACAR (Revue d'art canadienne / Canadian Art Review), vol. 25, no. 1-2 (1998), pp. 103-122. [en anglais]

Brèves parties d'articles de revue scientifiques

• FISCHER, Craig. « Why Feminist Film Theory? », critique de The Films of Joyce Wieland, par Kathryn Elder, NWSA Journal, vol. 14, no. 2 (été 2002). (p. 178) [en anglais]

Articles de journaux, de revues grand public ou de sites d'information en ligne

• ARMATAGE, Kay. « Kay Armatage interviews Joyce Wieland », entretien avec Joyce Wieland, Take One (Montreal), vol. 3, no. 2 ['issue of Nov.-Dec, 1970; published Feb. 7, 1972'], novembre-décembre 1970. [en anglais]
• ARMATAGE, Kay. « Wieland », entretien avec Joyce Wieland, Take One (Montreal), février 1972. [en anglais]
• BANNING, Kass. « The mummification of Mommy: Joyce Wieland as the AGO's first living other », C Magazine, no. 13, 1987. [en anglais]
• CORNWELL, Regina. « True Patriot Love: The Films of Joyce Wieland », Artforum, vol. 10, no. 1, septembre 1971. [en anglais]
• CREAN, Susan M. « Forbidden fruit: The erotic nationalism of Joyce Wieland », This Magazine, août-septembre 1987. [en anglais]
• 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, 30 juin 1998. [en anglais]
• 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, 30 juin 1998. [en anglais]
• FREEDMAN, Adele. « Biography: Goddess, matriarch, victim: Two new books examine Joyce Weiland's idiosyncratic art, fierce patriotism and hard life », Globe and Mail, 27 octobre 2001. [en anglais]
• FULFORD, Robert. « Giving us a sense of ourselves », Toronto Star, 10 juillet 1971. [en anglais]
• GLOBE AND MAIL. « Film-maker casts Dwight Eisenhower eating fish », entretien avec Joyce Wieland, Globe and Mail, 2 décembre 1967. [en anglais]
• GOSLAWSKI, Barbara. « An appreciation of the films of Joyce Wieland », Take One (Toronto), automne 1998. [en anglais]
• GOSLAWSKI, Barbara. « Experimental », Take One (Toronto), hiver 1997. [en anglais]
• JAMES, Geoffrey. « The protean vision of Joyce Wieland », Maclean's, 27 avril 1987. [en anglais]
• JOHNSON, Brian D. « Adieu to two pioneers: Joyce Wieland 1931-1998, Bill Reid 1920-1998 », Maclean's, 13 juillet 1998. [en anglais]
• KRITZWISER, Kay. « Europe gets the drift of the Snows' avant-garde films », Globe and Mail, 21 octobre 1968. [en anglais]
• LARIVIÈRE, Maryse. C. « 'Phallus in Wonderland': role plays with Joyce Wieland », C Magazine, no. 138, été 2018. [en anglais]
• LIPZIN, Janis Crystal. « Talking with Joyce Wieland », Cinema News, septembre-octobre 1978. [en anglais]
• LOW, Anne. « Otherwise unexplained fires: Joyce Wieland and the experimental film scene in 1960s New York », C Magazine, automne 2008. [en anglais]
• MACDONALD, Ingrid. « Indisputable splendour », Broadside, mai 1987. [en anglais]
• MAGIDSON, Debbie et Judy WRIGHT. « Interviews with Canadian artists: Debbie Magidson and Judy Wright interview Joyce Wieland », entretien avec Joyce Wieland, Canadian Forum, mai-juin 1974. [en anglais]
• MAGIDSON, Debbie et Judy WRIGHT. « True patriot love: Debbie Magidson and Judy Wright discuss the work of Joyce Wieland », Art and Artists, octobre 1973. [en anglais]
• MCCRACKEN, Melinda. « Joyce thinks Canada is last hope for rats and people », entretien avec Joyce Wieland, Globe and Mail, 8 mars 1969. [en anglais]
• MILLER, Donald. « Art films of Wieland stir mind », Pittsburgh Post-Gazette, 9 mars 1972. [en anglais]
• O'PRAY, Michael. « Video: Joyce Wieland: In Search of the Far Shore », Art Monthly, mars 1988. [en anglais]
• PATTERSON, Maggie. « Canadian's films say 'rats' to U.S. », entretien avec Joyce Wieland, Pittsburgh Press, 9 mars 1972. [en anglais]
• PUNTER, Jennie. « A hug for Joyce Wieland », critique de Artist On Fire: The Work of Joyce Wieland, Kingston Whig-Standard, 23 février 1991. [en anglais]
• SCOTT, Jay. « Full circle », Canadian Art, mars 1987. [en anglais]
• SITNEY, P. Adams. « There is only one Joyce », Artscanada, avril 1970. [en anglais]
• SPIRES, Randi. « True patriot love: Joyce Wieland's one-woman show », Canadian Forum, août-septembre 1987. [en anglais]
• TUER, Dot. « Visions of the heroic: An interview with Kay Armatage », entretien avec Kay Armatage, Cinema Canada, octobre 1987. [en anglais]
• WALKER, Kathleen. « The artist as patriot », entretien avec Joyce Wieland, Ottawa Citizen, 23 octobre 1976. [en anglais]
• WARD, Olivia. « Artist Joyce Wieland: blossoming at 50 », entretien avec Joyce Wieland, Toronto Star, 8 février 1981. [en anglais]

Documentaires

• Artist on Fire: The Work of Joyce Wieland, réalisé par Kay Armatage, 1987. [en anglais]
• A Film about Joyce Wieland, réalisé par Judy Steed, 1972. [en anglais]

Thèses

• BUZZELL, Judith E. Media Orientations of Four Women Artists: Questions and Implications for Teaching Art, 1989. Thèse de maîtrise, Concordia University. [en anglais]
• CONLEY, Christine Louise. Daughters in Exile: Negotiating the Spaces of the Avant-Garde: Christiane Pflug and Joyce Wieland, 1990. Thèse de maîtrise, Carleton University. [en anglais]
• HOLMES, Kristy Arlene. Negotiating the Nation: The Work of Joyce Wieland, 1968-1976, 2008. Thèse de doctorat, Queen's University. [en anglais]
• LUSSIER, Julie. Michael Snow et Joyce Wieland au regard des politiques culturelles canadiennes, 1970-1971, 2003. Thèse de maîtrise, Université de Montréal.
• RABINOVITZ, Lauren Holly. Radical Cinema: The Films and Film Practices of Maya Deren, Shirley Clarke and Joyce Wieland, 1982. Thèse de doctorat, University of Texas at Austin. [en anglais]
• STEVENSON, Barbara K. The Political and Social Subject Matter in the Art of Joyce Wieland and Greg Curnoe, 1987. Thèse de maîtrise, Carleton University. [en anglais]

Sites Web

• BIBLIOTHÈQUE ET ARCHIVES CANADA. « Femmes à l'honneur : Les femmes artistes au Canada : Joyce Wieland », Bibliothèque et Archives Canada, http://www.collectionscanada.gc.ca/femmes/030001-1173-f.html.
• ELDER, Kathryn. « Canadian Film Encyclopedia: Joyce Wieland », Film Reference Library (Toronto International Film Festival Group), http://www.filmreferencelibrary.ca/index.asp?layid=46&csid1=70&navid=88&fid3=556. [en anglais]
• « IMDb: Joyce Wieland », Internet Movie Database, Inc, http://www.imdb.com/name/nm0927407/. [en anglais]
• LIBRARY AND ARCHIVES CANADA. « Celebrating Women's Achievements: Women Artists in Canada: Joyce Wieland », Library and Archives Canada, http://www.collectionscanada.gc.ca/femmes/030001-1173-e.html. [en anglais]
• ZEMANS, Joyce. « The Canadian Encyclopedia: Wieland, Joyce », Historica Foundation of Canada, http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Params=A1ARTA0008583. [en anglais]
• ZEMANS, Joyce. « L'Encyclopédie canadienne : Wieland, Joyce », Fondation Historica du Canada, http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Params=F1ARTF0008583.

Section 3 : Publications sur les films de Joyce Wieland

A Salt in the Park (1959)

Brèves parties de livres

• NOWELL, Iris. Joyce Wieland: A Life in Art, Toronto, ECW Press, 2001. [en anglais] (pp. 124-125)

Patriotism, Part I (1964)  (autre titre : "Patriotism 1")

Brèves parties de livres

• GITTINGS, Christopher E. Canadian National Cinema: Ideology, Difference and Representation, London, Routledge, 2002. [en anglais] (pp. 106-107)
• PARPART, Lee. « Cowards, Bullies, and Cadavers: Feminist Re-Mappings of the Passive Male Body in English-Canadian and Québécois Cinema » , dans Gendering the Nation: Canadian Women's Cinema, sous la direction de Kay Armatage, Kass Banning, Brenda Longfellow et Janine Marchessault, Toronto, University of Toronto Press, 1999. [en anglais] (pp. 256-259)

Chapitres de thèses

• 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 » , dans Nostalgic Nationalisms and the Spectacle of the Male Body in Canadian and Québécois Cinema, 1997. Thèse de maîtrise en arts plastiques, York University, pp. 78-125. [en anglais]

Water Sark (1965)

Chapitres de livres

• ARMATAGE, Kay. « The Feminine Body: Joyce Wieland's Water Sark » , dans Dialogue : cinéma canadien et québécois = Dialogue: Canadian and Quebec Cinema, sous la direction de Michael Dorland, Seth Feldman et Pierre Véronneau, Montréal, Mediatexte Publications, 1987, pp. 283-295. [anglais / français]

Brèves parties de livres

• NOWELL, Iris. Joyce Wieland: A Life in Art, Toronto, ECW Press, 2001. [en anglais] (pp. 228-237)

Articles de revues scientifiques

• ARMATAGE, Kay. « Feminine Body: Joyce Wieland's Water Sark », Canadian Woman Studies / Les Cahiers de la femme, vol. 8, no. 1 (printemps 1987), pp. 84-88. [en anglais]

Barbara's Blindness (1965)

Brèves parties de livres

• WEES, William C. « Breaking New Ground: Canada's First Found Footage Films » , dans Cinephemera: Archives, Ephemeral Cinema, and New Screen Histories in Canada, sous la direction de Gerda Cammaer et Zoë Druick, Montreal, McGill-Queen's University Press, 2014. [en anglais] (pp. 114-117)

Patriotism, Part II (1965)  (autre titre : "Patriotism 2")

Chapitres de thèses

• 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 » , dans Nostalgic Nationalisms and the Spectacle of the Male Body in Canadian and Québécois Cinema, 1997. Thèse de maîtrise en arts plastiques, York University, pp. 78-125. [en anglais]

Handtinting (1967)  (autre titre : "Hand Tinting")

Chapitres de livres

• BANNING, Kass. « Textual Excess in Joyce Wieland's 'Handtinting' » , ["[Originally published in] CineAction 5 (Spring 1986): 12-14."] dans The Films of Joyce Wieland, sous la direction de Kathryn Elder, Toronto, Toronto International Film Festival Group, 1999, pp. 128-133. [en anglais]

Brèves parties de livres

• WEES, William C. « Breaking New Ground: Canada's First Found Footage Films » , dans Cinephemera: Archives, Ephemeral Cinema, and New Screen Histories in Canada, sous la direction de Gerda Cammaer et Zoë Druick, Montreal, McGill-Queen's University Press, 2014. [en anglais] (pp. 117-120)

Articles de revues scientifiques

• BANNING, Kass. « Textual Excess in Joyce Wieland's 'Handtinting' », CineAction, no. 5 (printemps 1986), pp. 12-14. [en anglais]

Thèses

• BANNING, Ann Kathleen. Exceeding the Frame: Implications of Excess in Two Films by Joyce Wieland, 1989. Thèse de maîtrise en arts plastiques, York University. [en anglais]

Sailboat (1967)

Chapitres de livres

• CORNWELL, Regina. « Joyce Wieland: Wieland's Sailboat and '1933' » , ["Extract from an article in Artforum."] dans Structural Film Anthology, sous la direction de Peter Gidal, London, British Film Institute, 1976, pp. 139-140. [en anglais]

Bill's Hat (1967)

Brèves parties de livres

• LIND, Jane. Joyce Wieland: Artist on Fire, Toronto, James Lorimer, 2001. [en anglais] (pp. 166-168)

Articles de journaux, de revues grand public ou de sites d'information en ligne

• BEKER, Marilyn. « Expanded cinema rocks gallery », Globe and Mail, 30 novembre 1967. [en anglais]
• DAULT, Gary Michael. « Bill's Hat », Artscanada, avril 1968. [en anglais]
• KAREDA, Urjo. « Plastic bags have more life than Cinethon », Globe and Mail, 16 juin 1967. [en anglais]

1933 (1967)

Chapitres de livres

• CORNWELL, Regina. « Joyce Wieland: Wieland's Sailboat and '1933' » , ["Extract from an article in Artforum."] dans Structural Film Anthology, sous la direction de Peter Gidal, London, British Film Institute, 1976, pp. 139-140. [en anglais]

Rat Life and Diet in North America (1968)

Brèves parties de livres

• LIND, Jane. Joyce Wieland: Artist on Fire, Toronto, James Lorimer, 2001. [en anglais] (pp. 159-160)
• NOWELL, Iris. Joyce Wieland: A Life in Art, Toronto, ECW Press, 2001. [en anglais] (pp. 261-269)

La raison avant la passion (1969)  (autre titre : "Reason over Passion")

Chapitres de livres

• HOLMES, Kristy A. « Negotiating Citizenship: Joyce Wieland's Reason over Passion » , dans The Sixties: Passion, Politics, and Style, sous la direction de Dimitry Anastakis, Montreal, McGill-Queen's University Press, 2008, pp. 42-70. [en anglais]
• 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)."] dans The Films of Joyce Wieland, sous la direction de Kathryn Elder, Toronto, Toronto International Film Festival Group, 1999, pp. 56-63. [en anglais]
• MISSEN, James. « Reason over Passion » , dans The Cinema of Canada, sous la direction de Jerry White, London, Wallflower, 2006, pp. 62-70. [en anglais]

Brèves parties de livres

• GITTINGS, Christopher E. Canadian National Cinema: Ideology, Difference and Representation, London, Routledge, 2002. [en anglais] (pp. 107-109)
• LIND, Jane. Joyce Wieland: Artist on Fire, Toronto, James Lorimer, 2001. [en anglais] (pp. 174-175)
• NOWELL, Iris. Joyce Wieland: A Life in Art, Toronto, ECW Press, 2001. [en anglais] (pp. 270-277)

Articles de revues scientifiques

• HOLMES-MOSS, Kristy A. et Barbara STEVENSON. « Joyce Wieland: Interview and Notes on Reason over Passion and Pierre Vallières », entretien avec Joyce Wieland, Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques, vol. 15, no. 2 (automne 2006), pp. 114-124. [en anglais]

Articles de journaux, de revues grand public ou de sites d'information en ligne

• HALE, Barrie. « A pure new film of a pure land », Toronto Star, 19 juillet 1969. [en anglais]
• MENDES, Ross. « Light: 24 frames per second », Canadian Forum, septembre 1969. [en anglais]
• PRINGLE, Douglas. « La raison avant la passion, a film by Joyce Wieland, screened at The Global Village, Toronto, July 8 », critique de La raison avant la passion, Artscanada, no. 134/135, août 1969. [en anglais]
• SHAMAI, Ruth. « Filmmaker will raise Canadian conscience », Excalibur, 8 mars 1973. [en anglais]
• SISKIND, Jacob. « Joyce Wieland's Reason Over Passion at Loyola Experimental Film Festival », critique de La raison avant la passion, Montreal Gazette, 4 juillet 1969. [en anglais]

Thèses

• BANNING, Ann Kathleen. Exceeding the Frame: Implications of Excess in Two Films by Joyce Wieland, 1989. Thèse de maîtrise en arts plastiques, York University. [en anglais]

Chapitres de thèses

• BROOMER, Stephen. « Glowing Hearts: Joyce Wieland's La Raison avant la passion / Reason Over Passion (1969) » , dans Codes of the North: Difficulty in the Origins of the Canadian Avant-Garde Film, 2015. Thèse de doctorat, Ryerson University & York University, pp. 177-205. [en anglais]

Pierre Vallières (1972)

Brèves parties de livres

• LIND, Jane. Joyce Wieland: Artist on Fire, Toronto, James Lorimer, 2001. [en anglais] (pp. 206-208)
• NOWELL, Iris. Joyce Wieland: A Life in Art, Toronto, ECW Press, 2001. [en anglais] (pp. 330-34)

Articles de revues scientifiques

• HOLMES-MOSS, Kristy A. et Barbara STEVENSON. « Joyce Wieland: Interview and Notes on Reason over Passion and Pierre Vallières », entretien avec Joyce Wieland, Canadian Journal of Film Studies / Revue canadienne d'études cinématographiques, vol. 15, no. 2 (automne 2006), pp. 114-124. [en anglais]

Articles de journaux, de revues grand public ou de sites d'information en ligne

• COOK, Pam. « Pierre Vallières », Monthly Film Bulletin, septembre 1983. [en anglais]

Solidarity (1973)

Brèves parties de livres

• NOWELL, Iris. Joyce Wieland: A Life in Art, Toronto, ECW Press, 2001. [en anglais] (pp. 334-335)

The Far Shore (1976)  (autres titres : "L'autre rive", "True Patriot Love")

Livres

• REID, Alison, Pierre THÉBERGE et 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. [anglais / français]
• SLOAN, Johanne. Joyce Wieland's The Far Shore, Toronto, University of Toronto Press, 2010. [en anglais]

Chapitres de livres

• ARMATAGE, Kay. « Wieland's Far Shore and Shipman's God's Country » , dans Great Canadian Film Directors, sous la direction de George Melnyk, Edmonton, University of Alberta Press, 2007, pp. 3-26. [en anglais]
• FULFORD, Robert [Marshall Delaney, pseud.]. « Wielandism: A Personal Style in Full Bloom » , ["Reprinted from Saturday Night, May 1976."] dans Canadian Film Reader, sous la direction de Seth Feldman et Joyce Nelson, Toronto, Peter Martin Associates, 1977, pp. 278-282. [en anglais]
• LONGFELLOW, Brenda. « Gender, Landscape, and Colonial Allegories in The Far Shore, Loyalties, and Mouvements du désir » , dans Gendering the Nation: Canadian Women's Cinema, sous la direction de Kay Armatage, Kass Banning, Brenda Longfellow et Janine Marchessault, Toronto, University of Toronto Press, 1999, pp. 165-182. [en anglais]
• RABINOVITZ, Lauren. « The Far Shore: Feminist Family Melodrama » , ["[Originally published in] Jump Cut 32 (1987): 29-31."] dans The Films of Joyce Wieland, sous la direction de Kathryn Elder, Toronto, Toronto International Film Festival Group, 1999, pp. 118-127. [en anglais]

Brèves parties de livres

• CULP, Jonathan. « Farther Shores: Experiments in Canadian Feature Narrative » , dans Explosion in the Movie Machine: Essays and Documents on Toronto Artists' Film and Video, sous la direction de Chris Gehman, Toronto, Images Festival and Liaison of Independent Filmmakers of Toronto, 2013. [en anglais] (pp. 190-191)
• GRACE, Sherill. Inventing Tom Thomson: From Biographical Fictions to Fictional Autobiographies and Reproductions, Montreal, McGill-Queen's University Press, 2004. [en anglais] (pp. 127-134)
• KNELMAN, Martin. This Is Where We Came In: The Career and Character of Canadian Film, Toronto, McClelland and Stuart, 1977. [en anglais] (pp. 162-164)
• LIND, Jane. Joyce Wieland: Artist on Fire, Toronto, James Lorimer, 2001. [en anglais] (pp. 209-235)
• NOWELL, Iris. Joyce Wieland: A Life in Art, Toronto, ECW Press, 2001. [en anglais] (pp. 284-288, 312-313, 319-327, 374-376)
• SLOAN, Johanne. « Conceptual Landscape Art: Joyce Wieland and Michael Snow » , dans Beyond Wilderness: The Group of Seven, Canadian Identity and Contemporary Art, sous la direction de John O'Brian et Peter White, Montreal, McGill-Queen's University Press, 2007. [en anglais] (pp. 76-78)

Articles de revues scientifiques

• 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) », critique de Joyce Wieland's The Far Shore, par Johanne Sloan, University of Toronto Quarterly, vol. 83, no. 2 (printemps 2014), pp. 558-562. [en anglais]
• FELDMAN, Seth. « What They Wished For », critique de Joyce Wieland's The Far Shore, par Johanne Sloan, Canadian Literature, no. 213 (été 2012), pp. 183-185. [en anglais]
• 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), vol. 35, no. 2 (2010), pp. 47-64. [en anglais]
• 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, vol. 2, no. 2-3 (1993), pp. 81-93. [en anglais]
• RABINOVITZ, Lauren. « Feminist Family Melodrama », Jump Cut, no. 32 (avril 1986), pp. 29-31. [en anglais]
• WORDSWORTH, Anne. « An Interview with Joyce Wieland », entretien avec Joyce Wieland, Descant, no. 8-9 (printemps-été 1974), pp. 108-110. [en anglais]

Articles de journaux, de revues grand public ou de sites d'information en ligne

• AUCHTERLONIE, Bill. « Joyce Wieland: Filmmaker; The Far Shore/In Progress », Artmagazine, vol. 7, no. 24, décembre-janvier 1975/1976. [en anglais]
• BLANCHFIELD, Cecilia. « 'My star is shining' says actress Celine », entretien avec Celine Lomez, Montreal Gazette, 17 juin 1978. [en anglais]
• BOXOFFICE. « The Far Shore », critique de The Far Shore, Boxoffice, vol. 113, no. 25, 25 septembre 1978. [en anglais]
• COCCHI, John. « American exhibitors eager to book Wieland's acclaimed 'The Far Shore' », critique de The Far Shore, Boxoffice, vol. 113, no. 25, 25 septembre 1978. [en anglais]
• DAULT, Gary Michael. « Movie looks gorgeous but acting ruins it », critique de The Far Shore, Toronto Star, 24 septembre 1976. [en anglais]
• FETHERLING, Doug. « Joyce Wieland in Movieland: What was a fine artist doing in a world of hype and hustle? », Toronto Star, 24 janvier 1976. [en anglais]
• FETHERLING, Doug. « Wieland's vision », critique de The Far Shore, Canadian Forum, vol. 51, no. 661, mai 1976. [en anglais]
• FULFORD, Robert. « Tom Thomson film a canvas for beliefs, ideas of the 1970s », Globe and Mail, 30 juillet 1997. [en anglais]
• HALPERN MARTINEAU, Barbara. « The Far Shore: A film about violence. A peaceful film about violence », critique de The Far Shore, Cinema Canada, avril 1976. [en anglais]
• HARCOURT, Peter. « Joyce Wieland's The Far Shore », critique de The Far Shore, Take One (Montreal), vol. 5, no. 2, mai 1976. [en anglais]
• KOME, Penney. « Women on the go: Joyce Wieland; artist and filmmaker », Chatelaine, vol. 49, no. 4, avril 1976. [en anglais]
• LANDSBERG, Michele. « Joyce Wieland: Artist in Movieland », Chatelaine, octobre 1976. [en anglais]
• LANKEN, Dane. « Wieland feature explains well life and death of Tom Thomson », Montreal Gazette, 7 août 1976. [en anglais]
• LEROUX, André. « The Far Shore », critique de The Far Shore, Séquences, octobre 1976.
• LEVINSOHN, Lisl. « Skin Deep », critique de The Far Shore, Maclean's, 18 octobre 1976. [en anglais]
• LISTER, A. « Joyce Wieland », entretien avec Joyce Wieland, Criteria, février 1976. [en anglais]
• MAGIDSON, Debbie. « Joyce Wieland's vision », Canadian Forum, vol. 55, no. 654, septembre 1975. [en anglais]
• MARTIN, Robert. « Far Shore beautiful but flat », critique de The Far Shore, Globe and Mail, 25 septembre 1976. [en anglais]
• MOSES, Michele. « A glimpse of The Far Shore », Cinema Canada, no. 23, novembre 1975. [en anglais]
• ORD, D. « An essay on Canadian (film) », Cinema Canada, juin-juillet 1977. [en anglais]
• PURDIE, James. « The best Tom Thomson faker in the whole world », Globe and Mail, 12 juillet 1975. [en anglais]
• RASKY, Frank. « Passionate painter and film-maker directs a classical romance », Toronto Star, 18 septembre 1976. [en anglais]
• READ, Marilyn. « New Canadian feature film a mixture of humor and soap », critique de The Far Shore, Calgary Herald, 9 août 1976. [en anglais]
• RYWECK, Charles. « The Far Shore », critique de The Far Shore, Hollywood Reporter, 8 décembre 1978. [en anglais]
• SEGAL, Mike. « The Cinema », critique de The Far Shore, Canadian Review, vol. 3, no. 5, octobre 1976. [en anglais]
• « The Far Shore truly Canadian—rather dull », critique de The Far Shore, Ottawa Citizen, 6 août 1976. [en anglais]
• TAYLOR, Noel. « True patriot love for fledgling film-maker », entretien avec Joyce Wieland, Ottawa Citizen, 13 août 1976. [en anglais]
• VARIETY. « The Far Shore », critique de The Far Shore, Variety, 18 août 1976. [en anglais]
• WEDMAN, Les. « The Far Shore: Director Joyce Wieland », critique de The Far Shore, Cinema Canada, novembre 1976. [en anglais]

A and B in Ontario (1984)

Brèves parties de livres

• NOWELL, Iris. Joyce Wieland: A Life in Art, Toronto, ECW Press, 2001. [en anglais] (pp. 418-420)

Fonds et collections d'archives

• Cinemathèque québécoise (Montréal, Québec)
• Bibliothèque et Archives Canada (Ottawa, Ontario)
• York University Archives & Special Collections (Toronto, Ontario)