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.

Bill McCarthy

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