Anything other than the original Russian mono version of Stalker has extra sound overdubbed that the Director never intended!
Kwaidan (1964) and Zatoichi (2003) are other good examples of the blurring of the lines. Japanese sensibilities in particular are very suited to this style, David Toop talks about this kind of thing in Japanese Cinema and Sound Art in his wonderful book 'Haunted Weather'.
Also another response to the original question (perhaps less sexy or exotic) is Walter Murch's use of Worldizing in American Grafitti, how music from Car and Cafe/Diner radios constantly glide between diegetic and non-diegetic, foreground and background.