Citation :
« In her cinematic explorations from 1965 to 1968, [Joyce] Wieland uses familiar elements from her earlier work: repetition, sensuous colors, textures, and tones in order to examine the trappings of domesticity—household pets, the kitchen table, dishes, and a fixed view of the street outside one's window. The loop printing and slight variations emphasize specific details as the movements recur so that the incomplete actions never extend beyond the frame to illusionistic off-screen space. Without completed actions creating any sense of spatial depth, the frame forms the parameters of activity and forces an acknowledgement of the image as two-dimensional. Wieland's superimposed on-screen lettering further fixes the image as a flat rectangle of colors, shapes, and implied textures organized around a central space. Thus, the early structural films parallel and develop the peculiar magnified point-of-view, focus on detail, voluptuous expressive tones, and central spatial organization that Wieland first exhibited in [her 1961 painting] Balling. »
-- Lauren Rabinovitz

Source :
RABINOVITZ, Lauren Holly. Radical Cinema: The Films and Film Practices of Maya Deren, Shirley Clarke and Joyce Wieland, 1982. Thèse de doctorat, University of Texas at Austin. (pp. 203-204) [en anglais]