Given the present proliferation of profilmic electronic screens in narrative feature films, it is of some interest to examine their role apart from that of denoting objects pertaining to everyday reality. Electronic screens within the European-type filmic diegeses – characterized by adhering to conventions of (hyper)realism, non-hypermediation and character-centered storytelling – in a digital era are used not only as props, but as frames that re-order and aestheticize levels of reality (