"[Alanis Obomsawin] appears in all of her films, seated on a picnic bench interviewing subjects, standing in a cluster of reporters, or barricaded behind the lines during a military battle. Her presence on the screen confirms her intimate connection to the subject matter, so while observational documentaries may labor to elide the filmmaker's presence, Obomsawin intentionally foregrounds it."
-- Jennifer L. Gauthier
Gauthier, Jennifer L. "Dismantling the Master's House: The Feminist Fourth Cinema Documentaries of Alanis Obomsawin and Loretta Todd." ["This article has been reprinted with the permission of Post Script: Essays in Film and the Humanities [...] 29.3 (Summer 2010)."] In Native Americans on Film: Conversations, Teaching, and Theory, edited by Eric L. Buffalohead and M. Elise Marubbio. Lexington, Kentucky: The University Press of Kentucky, 2013. (p. 94)