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« Today, the film's political and discursive dimensions may not seem as significant as they did when Handtinting first appeared—three years after the passage of the Civil Rights Act in 1964, the creation of the Job Corps as part of the Equal Opportunity Act passed in the same year, and, perhaps most importantly, the resurgence of feminism in the 1960s. Worth remembering, too, is that working with found footage and employing materialistic techniques were vanguard tactics that have become all too familiar since the '60s. Nevertheless, Wieland's command of her material allowed her to produce a politically inflected and aesthetically rich 'poem' as fresh today as it was when it first appeared. »
-- William C. Wees

Source :
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] (p. 120)