Quote:
"[In Our Marilyn, Brenda] Longfellow repositions film discourse to locate, analyse and trouble the cinematic production of woman by reworking phallocentrically produced film images of Canadian marathon swimmer Marilyn Bell and Marilyn Monroe through voice-over, editing, optical printing and re-enactment to privilege the process of becoming and defer any fixing of gender identity."
-- Christopher E. Gittings

Source:
Gittings, Christopher E. Canadian National Cinema: Ideology, Difference and Representation. London: Routledge, 2002. (p. 273)