|Directed by Kay Armatage|
|Canada, 1987 (documentary, 54 minutes, colour, English)|
"A pioneer of feminist avant-garde cinema, Joyce Wieland has explored the crux of nationalism, feminine sexuality and ecology for more than thirty years in films such as her influential Rat Life and Diet and Reason over Passion. This richly suggestive portrait surveys Wieland's involvement in structural filmmaking with Michael Snow and Hollis Frampton in the 1960s and her reinvention of women's crafts in her artwork."
-- Women Make Movies (source)
|Film Credits (partial):|
|Produced by:||Barbara Tranter|
|Cinematography:||Babette Mangolte, Peter Mettler|
|Film Editing:||Petra Valier|
|Production Company:||Dominion Pictures|
"The central structuring devices of the film [Artist On Fire: The Work of Joyce Wieland] are the direct address of the artist to camera/audience and the multiple, fragmented and unscripted voice-overs which combine various discourses: personal, academic, descriptive, analytical, and something approaching the poetic. In contrast to Wieland's voice, which is mixed clearly, completes sentences, speaks alone, and is corporealized (synchronized to her lip movements on screen), the unidentified, disembodied and inter-cut voice-overs are treated with an hallucinatory reverb and embedded in multiple tracks including sounds from Wieland's films, additional sound effects, and music. The intended effect is of contrasting modes of address, identification, and subjectivity."
-- Kay Armatage (source)
"Neither documentary nor art video but something in between. [Kay] Armatage
gives us a better sense of the late artist than do most of the books devoted
to Wieland. At one point the painter confesses her love for the way artist
Giovanni Battista Tiepolo responded to the light around Venice. 'It takes a
lifetime,' Wieland sighs, to find one's own light."
-- Peter Goddard (source)
"[Kay] Armatage had begun thinking about a film on Joyce [Wieland]'s work
during the winter she had screened old film footage with her. Joyce readily
agreed when Armatage proposed the film. She seemed somewhat nervous
during the filming and was always very, very conscious of her appearance,
but otherwise Joyce was cooperative—she understood the filmmaking
-- Jane Lind (source)