Two things: first, the Brattle Theatre here in Cambridge, Mass. is currently running a Monday night series called "Jazz in Noir." They include "Streetcar Named Desire" in it, not because it is noir, but because, according to them, it is one of the first Hollywood studio films to incorporate jazz into its soundtrack. According to my memory of the movie, at least some of the music would be potentially diegetic. Second, there is an excellent essay about the use of music in Fellini's "Le Notti di Cabiria," and the ambiguity of its source, whether diegetic or not so. For instance, once early in the second sequence, concerning Cabiria's encounter with the matinee idol, the music clearly seems to be extra-diegetic, then Cabiria begins to dance to it. Other times, a clear source within the film is shown (twice we see Cabiria lying on her bed with a radio next to her) but the soundtrack's music is much more clear than the diegetic source could deliver. The woman who wrote this essay (whose name escapes me at the moment) delivers a convincing analysis of the contribution of this ambiguity to the overall themes of the film. Her essay is included in Federico Fellini: Essays in Criticism, edited by Peter Bondanella. Stephen Brophy