Citation :
« [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 » , dans Gendering the Nation: Canadian Women's Cinema, sous la direction de Kay Armatage, Kass Banning, Brenda Longfellow et Janine Marchessault, Toronto, University of Toronto Press, 1999. [en anglais] (p. 257)