"Black and White" by Simon and Gar...no, wait, by Scottish comedy duo Hale and Pace, singing about the early days of TV. Accompanied by all the nuisances that happened, from scrolling screens to static. "But in case you'll forgot, we ended up as a little white <CLICK!>"
Lenny Henry hosted a show about dreams, in which he met an ancient philosopher who didn't speak English, so they agreed to talk in Subtitle. Further parodied when Lenny Henry is talking about whether dreaming of having tea with the queen and whether that meant it was important to really have tea with the queen. His subtitle replaced "tea with the queen" with "sex with Michelle Pfeiffer".
One National Geographic special was about ninjas. It ended with a simulated comparison between ninja methods and modern military; a "VIP" was placed in a "hotel room" with two trained bodyguards-armed with laser pointer pistols. The "assault team" managed to get to the VIP in less than a minute. The "ninja" took nine hours, and used a disguise...as a member of the National Geographic film crew.
'Allo 'Allo! was set in Nazi-occupied France and has characters of several nationalities speaking several different languages, all represented by the actors using deliberately bad accents. The Germans had bad German accents. The downed English airmen had bad English accents. The French had bad French accents, except when they were speaking English in which case they used bad English accents as well. The English spy masquerading as a French policeman had an atrocious French accent and mispronounced all his vowels (leading to endless double entendres), but only the French characters noticed. And so on.
And, of course, whenever a French character spoke "French" (i.e., English with a bad French accent) to an English character who only spoke "English" (i.e., English with over-the-top British accents and mannerisms), it was treated as being completely incomprehensible.
The Colbert Report once had Stephen respond to the people who didn't broadcast his show in HD by putting his hands in the parts of the screen which is cut off in the standard definition broadcast and sticking out the middle finger of each hand, after which he advises them to upgrade so that they can see it.
The "Lost Session" teaser for Cowboy Bebop (2021) plays around with borders that appear throughout the video, with the Bebop crew pushing them around to change scenes, then later on, weaponizing the borders themselves, with Spike even taking one and using it as a bo staff.
In "The Curse of Peladon", the arrival sequence outside the Citadel is shot on film despite being produced in studio in order to give it the sense of being a real place.
In "The Deadly Assassin", reality is all video with smooth motion and bright (some would say rather lurid) colours. The Cyberspace nightmare-world of the Matrix is all film, including the few studio shots (such as the Miniature Effects with the crocodile), with everything in a drab and muted, grainy colour palette (helped by the cheap and nasty-quality film) with the exception of the Doctor's ridiculously blue eyes. The whole effect is to indicate unrealness to everything there except for the Doctor's mind.
In "Snakedance", a 'ritual' segment set in wilderness yet clearly produced in studio is shot on film to subtly emphasize the trancelike nature of the ritual by introducing a visual disconnect.
The Weeping Angels' schtick of freezing when anybody's watching is as creepy as it is largely because the camera (and, by extension, the audience) apparently counts as an observer. In one scene, an angel advances on a character by moving whenever its unwitting victim passes between it and the camera.
"Forest of the Dead": When Donna is trapped in a Lotus-Eater Machine, she starts noticing all the jump cuts and realizes that though it seems time is passing, no time passes at all. Another character tells her about it: "You didn't get my note last night. You got it a few seconds ago. Having decided to come, you suddenly found yourself arriving. That is how time progresses here, in the manner of a dream." These jump cuts actually happen to her in-universe, since it's a computer world that creates the illusion of passing time.
In "The Pandorica Opens", the final shot has the background music abruptly cut out, to represent the Arc Words — "Silence will fall".
Similarly, in "Day of the Moon", seemingly continuous scenes are revealed to have had minutes of forgotten action over the course of a camera change. This comes with a dash of The Fourth Wall Will Not Protect You, since the primary threat of the Monster of the Week is that you can't remember them when you can't see them.
Also done in "The Wedding of River Song". While the Doctor and Winston Churchill are walking and talking they, along with the audience, gradually realise they are fighting off the Silents in between the scene and camera changes.
Whenever a location is shown on Fringe, the words hang there like they are part of the actual setting, sometimes with the camera avoiding the lettering as though it is actually there.
And in an episode mostly set during the Eighties, those words (and the opening credits) were changed into a font style typical of the period.
''Highlander: The Series'' uses this as a way of conveying the difference between the memories of Immortals and those of mortals. Immortal flashbacks are shown just as clearly as current-day action, but flashbacks from a mortal's point of view are blurred and off-color, clearly inferior and clouded versions of what happened.
A similar thing happened in the House episode "No Reason": House is trying to solve a medical case while recovering from being shot in the beginning of the episode. So he briefly talks to his team in the ICU, then we jump cut to him continuing his discussion in a staircase... until he suddenly says "How did I get here?" and states he doesn't remember what happened in between said jump cuts. The events of the episode after the shooting are an hallucination.
A number of How I Met Your Mother play with framing device by having Future!Ted openly alter what's happening either to censor it for his children or simply because he's forgotten the details.
Janda Kembang: Played for laughs when Rais "races" to Neneng's shop to confirm whether she is going to go to Arab and the screen suddenly becomes like a racing broadcast.
Monty Python's Flying Circus: The "Society for Putting Things on Top of Other Things" sketch makes a joke out of the convention of Video Inside, Film Outside. A character in a room shot on videotape looks out of the door. The moment he does so the scene switches to 16mm, and he declares, "Good Lord, I'm on film! How did that happen?" After repeating the experience with the room's other doors and windows and determining that they are "surrounded by film", the characters in the room come up with the idea to dig an underground tunnel; while not actually shown, it would have worked because such a scene would have been filmed on set and thus on video.
In Only Murders in the Building, scenes set from Theo's perspective completely mute the audio save for the quiet sound of his own blood circulating in his skull. When Teddy tries to get him to listen to some music through headphones in a flashback, it can be very faintly heard, but it's buried under the whoosh of his blood vessels, giving the audience an immediate understanding of the specific type of deafness that he lives with.
In the Wayne's World skits on Saturday Night Live, when Wayne and Garth want to do a dream sequence, they wave their arms and make "dream sequence" sound effects until the image fades. They do it to end the dream sequences too, but sometimes can't get particularly stubborn dream sequences to end when they want them to.
The season 2 premiere of Utopia is a Whole Episode Flashback set in the 1970s. To highlight this, the show assumes a 4:3 aspect ratio, and is made to appear as if it were shot with lower resolution cameras.
Wandavision changes aspect ratios and camera quality when switching between the "sitcom reality" and the "real world" of the Marvel Cinematic Universe.
teaser for Cowboy Bebop (2021) plays around with borders that appear throughout the video, with the Bebop crew pushing them around to change scenes, then later on, weaponizing the borders themselves, with Spike even taking one and using it as a bo staff.