Citation :
« The melodrama and pathos of [The Far Shore] should not be underestimated as an intervention into the aesthetics of landscape in Canada. The idea of introducing heightened emotion, torrid sex, financial greed, and murder into the story of Canadian art is anomalous and pleasurably shocking; who would have thought that the Canadian landscape was permeated with libidinal energy just like Arcadian landscapes of old? And the film does carry forth many of [Joyce] Wieland's thematic preoccupations, if not all of her formal ones: the plot of the film can be regarded as a kind of clash between 'passion' and 'reason,' whereby these are not presented as universal, timeless categories, but are instead historically specific forms of consciousness. »
-- Johanne Sloan

Source :
SLOAN, Johanne. « Conceptual Landscape Art: Joyce Wieland and Michael Snow » , dans Beyond Wilderness: The Group of Seven, Canadian Identity and Contemporary Art, sous la direction de John O'Brian et Peter White, Montreal, McGill-Queen's University Press, 2007. [en anglais] (p. 77)