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