Joyce Wieland Movies

Wavelength consists of almost no action, and what action does occur is largely elided. If the film could be said to have a conventional plot, this...

In this "fourteen-part drill for the camera," Frampton created a portrait gallery of his art-world friends engaging in a variety of ordinary...

"The whole film are non-art portraits of people in which they do what they want with this hat – and therefore, act or stand in front of my...

A young woman marries a wealthy man she isn't in love with, but finds romance instead with the couples' painter friend.

First shown on January 30, 1967, FOR LIFE AGAINST THE WAR was an open-call, collective statement from American independent filmmakers disparate in...

Zorns Lemma is a 1970 American structuralist film by Hollis Frampton. It is named after Zorn's lemma (also known as the Kuratowski–Zorn lemma),...

Various unrelated vignettes, often juxtaposing sound and image.

A cutout of a woman's silhouette is displayed in many locations while a free jazz soundtrack is heard. The jazz musicians later pose for the camera...

The film consists primarily of degraded footage of landscapes shot from vehicles moving across the country; meanwhile, 537 computer-generated...

Ken Jacobs’s most elusive and mysterious film is at once an allegory of movie-making, a demonstration of 8mm versatility, and a celebration of...

Constructed from found and stock footage, Barbara’s Blindness is a meditation on vision and adversity, drawing humour and pathos from a...

An unreleased diary film shot during the Fairleigh-Dickinson Artist Seminar simultaneous to the production of Back and Forth by Michael Snow.

A camera moves back and forth at an increasing pace. Back and forth, back and forth...

A serendipitous encounter with a younger artist gives legendary Canadian art icon Michael Snow the opportunity to reflect on his life and career.

A cat eats its methodical way through a polymorphous fish.

Patriotism, Part One depicts an army of phallic, bun-clad wieners marching on a vulnerable sleeping white male body, naked save for a sheet.

Joyce Wieland: “Hollis and I came back to Toronto on holiday in the summer of '67. We were staying at a friend's house. We worked our way...

The movie takes a rather negative look at things despite the fact that it was shot in reversal film. It depicts the turbulent relationships of...

About a strike in which women are involved, but told in a very different way.

“This film is against the corporate military industrial structure of global village.”