Quote:
"One truth [Joyce Wieland's] films came to share with the experimental filmmakers of the mid-1960s is that the film viewer's position is the paradoxical one of the intimate outsider. Wieland often explores this outsider's place in the film process, as she does for example with the close-up mirrored mise en scène of Water Sark (1964-1965) and the shot/countershot flow of A and B in Ontario (shot in the 1960s but only completed in 1984). But just as Wieland often prefers to border her serial works dealing with disasters with a soft, tactile frame, her films often emphasize the frame line to help position the spectator outside the spectacle. This is not so much an exclusion as it is a welcoming into intimacy on this side of the viewfinder."
-- Bart Testa

Source:
Testa, Bart. "A Movement Through Landscape." ["[Originally published in] Spirit in the Landscape exhibition catalogue (Art Gallery of Ontario, Toronto, 1989): 19-23."] In The Films of Joyce Wieland, edited by Kathryn Elder. Toronto: Toronto International Film Festival Group, 1999. (pp. 76, 78)