SCREEN-L Archives

June 2010, Week 1

SCREEN-L@LISTSERV.UA.EDU

Options: Use Monospaced Font
Show Text Part by Default
Show All Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
Subject:
From:
"Frank, Michael" <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Date:
Sun, 6 Jun 2010 10:07:26 -0400
Content-Type:
text/plain
Parts/Attachments:
text/plain (33 lines)
PURPLE ROSE OF CAIRO

HITCHCOCK'S SABOTAGE -- dealt with in detail by susan smith in her splendid book on hitchcock

-----Original Message-----
From: Film and TV Studies Discussion List [mailto:[log in to unmask]] On Behalf Of W. McCarthy
Sent: Friday, June 04, 2010 10:13 AM
To: [log in to unmask]
Subject: [SCREEN-L] incorporation of TV/cinema screen into cinema narrative

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

----
Screen-L is sponsored by the Telecommunication & Film Dept., the
University of Alabama: http://www.tcf.ua.edu

----
For past messages, visit the Screen-L Archives:
http://bama.ua.edu/archives/screen-l.html

ATOM RSS1 RSS2