The Far Shore (1976), made under the direction of celebrated
visual artist and experimental filmmaker Joyce Wieland, is one of
Canada's most innovative contributions to cinema. The film borrows
elements from the life of Canadian painter Tom Thomson, who is
represented by the character of Tom McLeod. The main character,
however, is not Tom, but the fictional creation of Eulalie de
Chicoutimi, the married Qu?b?coise woman who loves him. Using
Eulalie's perspective, Wieland was able to re-frame Thomson's life
and story as a romantic melodrama while infusing it with subversive
commentary on gender, nature and nationalism, and ultimately, on
the value of art.
Here, Wieland specialist Johanne Sloan offers a fascinating new
perspective on The Far Shore, making it more accessible by
discussing Wieland's utopian fusion of art and politics, the
importance of landscape within Canadian culture, and the on-going
struggle over the meaning of the natural environment.
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