Taxi Driver

Sent wirelessly from my BlackBerry device on the Bell network.
Envoyé sans fil par mon terminal mobile BlackBerry sur le réseau de Bell.

-----Original Message-----
From: scott hutchins <[log in to unmask]>
Date:         Wed, 9 Jun 2010 16:12:52 
To: <[log in to unmask]>
Subject: Re: [SCREEN-L] incorporation of TV/cinema screen into cinema narrative

The Icicle Thief
Dawn of the Dead
Cemetery Man
most of Jacques Tati's films
all of Joe Dante's films
Fat Albert
Citizen Kane
The Notorious Bettie Page
Man on the Moon
Qatsi Trilogy
Stay Tuned
Groundhog Day
Book of Shadows:  Blair Witch 2
One Flew Over the Cuckoo's Nest
Requiem for a Dream
Across the Universe
The Brave Little Toaster
The Twonky

On Fri, Jun 4, 2010 at 10:12 AM, W. McCarthy wrote:

> 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:

Screen-L is sponsored by the Telecommunication & Film Dept., the
University of Alabama:

Online resources for film/TV studies may be found at ScreenSite