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
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  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
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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

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