Joyce Wieland’s The Far Shore

Sloan (art history, Concordia U.) examines the 1976 movie, which revises the life and work of Canadian landscape painter Tom Thomson by telling it from the point of view of a fictional character, Eulalie, who falls in love with him. She shows how Wieland made good her statement that the film would articulate a political approach to landscape and nationhood. The topics are becoming cinematic, landscape and narrative (Tom), and genre and gender (Eulalia). The result, she finds, is a melodramatic landscape. No index is provided. Annotation 穢2010 Book News, Inc., Portland, OR (booknews.com)