consider the manner in which language is appropriated, situated and contextualized in the creation of subjects and thus of knowledge. But what is the status of the body in relation to discourse and how may one clarify the distinction between «discourse» and «experience?» Moreover, how may one still conceive of agency in this context? In her response to Scott entitled «History after the Linguistic Turn,» Kathleen Canning insists on the historical contingency of subjectivity but equally on the relevance of the material world for these processes. She follows Regenia Gagnier's suggestion «that examination of material culture (as the social space in which discourses are located) necessarily leads one to the body, that the body is located at a crossroads between material culture and subjectivity, and that bodily experiences of desire and deprivation shape subjectivity in important ways.» [17] Films are, of course, particularly suited to the task of locating the historical subject in its specificity in time and space, yet run the risk of making this contextualization seem self-evident. Indeed, how may the body, this point of juncture, this site of production that is itself produced, be

translated into representation without suggesting an essential relationship between visceral experience and subjectivity? In Wieland's case a strategy of visual reductio ad absurdum addresses this conundrum. While the majority of Wieland's films demonstrate an interest in the interaction between a body and its surroundings, both «Solidarity» and «Pierre Vallières» are unique in her oeuvre in that they focus explicitly on the relationship between experience and representation by employing radically selective framing techniques. When considered in the context of the talking head political documentary, or as a corrective to mainstream news, these two films represent an increasing localization of Wieland's perspective, a focus not unlike the developments going on contemporaneously within both the Newsreel collectives and the feminist documentary. However the formal characteristics of both of Wieland's films also suggest a discursive intervention. What do we understand from images that ostensibly document social events or statements given by individuals, that is, the images common to news broadcasts? The relationship between political statement (verbal or in