Bill, you might take a look at Pedro Almodovar's films for other examples. Two that I can think of offhand are his use of ALL ABOUT EVE in ALL ABOUT MY MOTHER and Bunuel's THE CRIMINAL LIFE OF ARCHIBALDO DE LA CRUZ in LIVE FLESH. --Marty Norden -------------------------------------------------------------------- Martin F. Norden Communication Dept., 409 Machmer Hall norden(at)comm.umass.edu University of Massachusetts-Amherst fax: 413 545-6399 Amherst, MA 01003 USA vox: 413 545-0598 Home page: http://people.umass.edu/norden -------------------------------------------------------------------- Quoting "W. McCarthy" <[log in to unmask]>: > I wonder if someone would be kind enough to direct me toward any studies -- > or even mere lists of examples -- which have been made of the incorporation > of images of a TV (and/or cinema) screen into a film's narrative -- screen > within a screen, that is. What I have chiefly in mind are complex examples > such as Arturo Ripstein's Así es la vida, Stone's Any Given Sunday, > Cronenberg's Videodrome, Dassin's Dream of Passion, etc., in which the > screen's images are somehow integral to (or make ironic comment upon) the > on-going narrative. In Any Given Sunday, e.g., Wyler's 1959 Ben-Hur plays on > a screen in order to produce an ironic atmosphere in a key scene. However, > any instance, even incidental, in which a TV or film screen is incorporated > would interest me. > > Gratefully, > Bill McCarthy ---- For past messages, visit the Screen-L Archives: http://bama.ua.edu/archives/screen-l.html