symptomatic of the feminist slant to her work. Similarly, she investigated the «here and now» implied by the Canadian nationalism which was budding throughout the 1950s and raging like a (courteous) wildfire by the late 1960s. Northrop Frye has written that the conundrum of Canadian identity cannot be addressed through a simple examination of self, but rather that the Canadian sensibility has been «less perplexed by the question ‹Who am I?› than by some such riddle as ‹Where is here?›» [4] Wieland' s work takes up the task of specifying the place from which meaning emerges, in both an individual and a geographic sense. Finally, formally, her work was often rigorously sparse, obliquely pointing out the various repercussions of the filmic dispositif, yet was never without humour. It is these three features in combination, Wieland's focus on the specifics of the domestic sphere, her insistence on the difficulty of defining «where is here?» and her inclination towards a reductive aesthetic, have contributed to a body of work that, in its eclecticism, seems to continue to be largely illegible to critics and scholars alike. [5]

Passion