Quote:
"[Joyce] Wieland once called this her 'hot dog film' and downplayed it as a 'technically bad' experiment in animation. But as an early product of her New York years (1963-71, during which Wieland says she became increasingly politicized as a Canadian nationalist and as a woman faced with the often overt sexism of her male colleagues in the avant-garde), the film gestures toward a view of the male body as a complex, vulnerable site, criss-crossed by power and inscribed with the marks of gendered national identity."
-- Lee Parpart

Source:
Parpart, Lee. "Cowards, Bullies, and Cadavers: Feminist Re-Mappings of the Passive Male Body in English-Canadian and Québécois Cinema." In Gendering the Nation: Canadian Women's Cinema, edited by Kay Armatage, Kass Banning, Brenda Longfellow, and Janine Marchessault. Toronto: University of Toronto Press, 1999. (p. 257)