Cataloging Films and Video Recordings (Advanced) - PowerPoint Presentation

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Cataloging Films and Video Recordings (Advanced)

CEALCommittee on Technical ProcessingMarch 31, 2011University of Hawaii at ManoaHamilton Library

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Presented by

Peter H.

LisiusKent State UniversitySlide2

Advanced Concepts: Access Points, Sets, Performance Films, etc.Subject/Genre Headings

TracingsNon-Collective TitlesIssues with SeriesUniform TitlesConcert/Performance FilmsCataloging a set vs. an individual itemVideo Recordings with or as Accompanying Material2Slide3

Advanced Concepts: OCLC/PCC Standards for RecordsWhen to Create a New Record

Duplicate Records/DDRParallel Language RecordsPCC Bibliographic Standard Records (BSRs) for Audiovisual Materials3Slide4

Subject/Genre Headings: 6xxSubject headings

General considerations“$v Drama” for feature filmsGenre headings (655 headings)Generally end with “films”Used for both documentary and feature filmsSee H 1913 section of Subject Headings Manual (SHM)http://www.loc.gov/catdir/cpso/genreformgeneral.html4Slide5

Genre Headings: Examples

Fiction filmsFeature filmsComedy filmsRomance filmsMusical filmsJames Bond filmsSubmarine films

Buddy filmsRoad filmsThrillers (Motion pictures)(etc.)Nonfiction filmsDocumentary filmsFilmed lecturesFilmed speechesEducational filmsInstructional films(etc.)Videorecordings for the hearing impairedFilms for the hearing impairedTelevision programs for the hearing impaired5Slide6

Subject/Genre Headings: MARC Example #1

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(Add to documentaries,educational and instructional films, concerts)Slide7

Subject/Genre Headings: MARC Example #2

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(Add to feature films, musical and opera films (non-staged))Slide8

Subject/Genre Headings: MARC Examples #3 & 4

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(Could add both if content warrants it)Slide9

Personal/Corporate Name Added Entries

Added entries (AACR2/LCRI 21.29D)All openly named persons/corporate bodies who have contributed to the creation of the item (245 $c; less commonly, 508)Corporate bodies named in the publication, distribution, etc., area. (260 $b)Featured players, performers, and narrators (511)Interviewers/interviewees, lecturers, etc. (511)How to construct headings: AACR2 Ch. 22 & 249Slide10

Special Considerations: Corporate Bodies

Bodies having to do with the actual production of the film usually in 245 $cBodies having to do with the distribution usually in 260 (e.g., what’s on the container)Sometimes corporate bodies are in both places, serving both functionsWill discuss problematic issues in “When to Input a New Record” section10Slide11

Corporate Bodies: $4 Relator Codes

Relator codes in MARCAllow the relationship between a name and a resource to be designated in bibliographic records (MARC 21 website)Indexed by both term (e.g., producer, director) and code (e.g., $4 pro, $4 drt)http://www.loc.gov/marc/relators/11Slide12

Personal/Corporate Name Added Entries: Example #1

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Codes represented here: Director (drt), producer (pro), interviewer (ivr), and narrator (nrt).Slide13

Personal/Corporate Name Added Entries: Example #2

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(Common addition when“corporateness” is not clear—see AACR2 Ch. 24)Slide14

Personal/Corporate Name Added Entries: Example #3

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245 $c511245 $c260Slide15

Non-Collective TitlesAACR2 1.1G:One work predominating: Use that as title proper and give others in contents note (1.1G1)

No works predominating: Describe item as a unit or as separate works (1.1G2) (LC practice—describe as a unit)AACR2 1.1G3: Transcription sourcesOrder appearing on chief source (one item)Treat multiple sources of information as if they were one 15Slide16

Non-Collective Titles: Types (examples from AACR2 1.1G)Multiple works by the same person(s), corporate bodies, etc.:

Multiple works by different person(s), corporate bodies, etc.:16Slide17

Non-Collective Titles: Title Added Entries (per LCRI 21.30J)

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videorecording]Slide18

Non-Collective Titles: Title Added Entries (per LCRI 21.30J) (ctd.)

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(Follow 2nd example)Slide19

Non-Collective Titles: Models Illustrating Access (per LCRI 21.30J)

19(Common in AV)Slide20

Non-Collective Titles: Models Illustrating Access (per LCRI 21.30J)

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Non-Collective Titles: CJK Example21

#1

#2#3#4#2#3#4#2#4Slide22

Non-Collective Titles: 5xx Notes (Example #1)22Slide23

Non-Collective Titles: 5xx Notes (Example #2)23Slide24

Non-Collective Titles: Choice to Describe Works Separately

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Non-Collective Titles: Choice to Describe Works Separately (Ctd.)

25(1st film)

(2nd film)Slide26

Collective Title: Several Films on One DVDAACR2 1.1B: If the chief source of information bears both a collective title and the titles of individual works, give the collective title as the title proper and give the titles of the individual works in a contents note

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Collective Title: Several Films on One DVD (Example)27Slide28

Collective Title: Several Films on One DVD (Example)28Slide29

Series & VideorecordingsRules for series: AACR2 7.6B1—points back to AACR2 1.6B1

Prescribed sources of information:Chief source of information (frames, disc)Accompanying materialContainer (Outside)Problem: Is it a series in the AACR2 sense, or in the “vernacular (i.e., television” sense?29Slide30

“Vernacular” vs. “AACR2” Series Statements: Jay Weitz’s Description*

“Series” in the Vernacular SenseA daily or weekly program with the same cast and format and a continuing storyA number of related programs having the same theme, cast, or format“Series” in the AACR2 SenseA group of separate items related to one another by the fact that each item bears, in addition to its own title proper, a collective title applying to the group as a whole.30*As given at the Advanced

Videorecordings Cataloging Workshop, OLAC 2008.Slide31

“Vernacular” vs. “AACR2” Series Statements: What is Publisher Saying?The programs were originally presented as a “television series” on a network or cable station. If so, add:

500 related title note730 related title added entryThe programs are being released as their own set of programs, the title of which may or may not resemble the title of a “television series” on a network or cable station. If so, add:4xx/8xxseries added entry31Slide32

“Television” Series:Example #1

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(PBS Television series,American masters)Slide33

“Television” Series:Example #1 (ctd.)

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“Television” Series: Example #234

Episode in questionSlide35

“Television” Series: Example #235

(Probably should be a 500 note)Slide36

“AACR2” Series: Example #136Slide37

“AACR2” Series: Example #1 (Ctd.)

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(Numbering practice from authority record)Slide38

“AACR2” Series: Example #2

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“AACR2” Series: Example #2 (Ctd.)

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(Numbering practice from authority record)Slide40

Uniform Titles: General Principles from AACR2 Ch. 25.1A (Review)To bring together all catalog entries when various manifestations of it have appeared under various titles

To identify a work when the title by which it is known differs from the title proper of the item being catalogedTo differentiate between two or more works published under identical titles properTo organize the file40Slide41

Uniform Titles: Motion Pictures and Television ProgramsAACR2 25.5B: Conflict resolution

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Uniform Titles: Motion Pictures and Television ProgramsLCRI 25.5B, Appendix I: Additions for motion pictures, television programs, and radio programs

This document represents PCC practiceCovers rule interpretations for: motion pictures, television programs, and radio programsFurther focus on: motion pictures/programs themselves; resources related to motion pictures/programs themselves 42Slide43

Uniform Titles: Motion Pictures and Television Programs (Ctd.)

We will exclude from our discussion:Radio programsWe will focus principally on motion pictures and television programs themselvesSome attention will be given to resources related to motion pictures and television programs 43Slide44

Uniform Titles: Motion PicturesPCC practice—assign uniform titles in the following situations:

Same title, different resourcesDifferent titles in the same languageDubbed motion picturesMotion pictures with translated intertitlesSubtitled motion picture released under a different titleMotion picture filmed simultaneously in different languages under different titlesComprehensive title/Individual title44Slide45

Uniform Titles: Motion Pictures (Example #1)45

(Reads “60th Anniversary”)

(1945 version)(1962 version)Slide46

Uniform Titles: Motion Pictures (Example #1, ctd.)

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(1962 version)(1945 version)Slide47

Uniform Titles: Motion Pictures (Example #2)47

c2004Slide48

Uniform Titles: Motion Pictures (Example #2, ctd.)

48(2004 version)Slide49

Uniform Titles: Television ProgramsPCC Practice—assign uniform titles in the following situations:

Same title, different resourcesComprehensive title/individual titleCompilations49Slide50

Uniform Titles: Television Programs (Jay Weitz’s suggestions)*

Use qualifier “television program” for resources originally aired on televisionUse additional qualifiers when uniform titles of different television programs would otherwise be the same (e.g., year of first telecast, production company, country of production)50*Part of advanced Videorecordings Cataloging Workshop at OLAC-MOUG 2008.Slide51

Uniform Titles: Television Programs (Jay Weitz’s suggestions, ctd.)

245 title construction changes also because of LCRI 25.5B1For individual titles that are part of a comprehensive title intended to be viewed consecutively, construct title proper as:Comprehensive title, plusNumeric designation, plusIndividual title245 00 Comprehensive title. $n Numeric designation, $p Individual title $h [videorecording].51Slide52

Uniform Titles: Television Programs

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(PBS Television series,American masters—comprehensive title)(Individual title)Slide53

Uniform Titles: Television Programs (Ctd.)

53*Note—sometimes “comprehensive title” doesn’t appear on chief source.In this case, it appears on both possible chief sources.Slide54

Uniform Titles: Television Programs (Ctd.)

54(Comprehensive title, individual title)Slide55

Uniform Titles: Audience Questions/Participation

Audience questions (sent prior to workshop)Any other questions about uniform titles???55Slide56

Cataloging Sets vs. Individual Items in a Set (or Subset)OCLC defines this as “analytical vs. comprehensive entry”

See “When to input a new record” section: http://www.oclc.org/bibformats/en/input/default.shtmPrinciple here: A record for a multipart item or serial and records for their individual parts or issues may coexist56Slide57

Cataloging a Set: Example57Slide58

Cataloging a Set: Example (Ctd.)

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Cataloging a Subset: Example59Slide60

Cataloging a Subset: Example (ctd.)

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(Set of three films part of a larger set)Slide61

Cataloging Individual Records: Example #161Slide62

Cataloging Individual Records: Example #1 (Ctd.)

62(Title for set becomes a series statement)Slide63

Cataloging Individual Records: Example #263

(Notice whole-part construction on printed label)Slide64

Cataloging Individual Records: Example #264

Notice order

: $a, $n, $p, $hSlide65

Videorecordings with Accompanying Material

Types of accompanying materialExternal vs. internalBookletsCD-/DVD-ROMsMusic CDsConsiderationsImportance of the accompanying material as its own itemTo what extent this is brought out on the bibrec65Slide66

Videorecordings with Accompanying Material: MARC Tagging Conventions

006 FieldPurpose: To code “additional” aspects of accompanying material that cannot be coded in the 008 fixed fields (e.g., aspects of a CD-ROM)Additional 007 fieldsUsed in conjunction with the respective 006 field, to bring out physical characteristics of additional media (e.g., electronic resources, cartographic materials, recorded sound, microforms, graphics)66Slide67

Videorecordings with Accompanying Material: Example #1 (Ctd.)

67…one CD-ROMSlide68

Videorecordings with Accompanying Material: Example #1 (Ctd.)

68Two DVDs plus…Slide69

Videorecordings with Accompanying Material: Example #1 (Ctd.)

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Book (i.e., PDF)Computer file (i.e.,CD-ROM)Physical characteristics of a CD-ROMSlide70

Videorecordings with Accompanying Material: Example #2

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Videorecordings with Accompanying Material: Example #2 (Ctd.)

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Book (e.g., guidebook)(Probably also code have coded for “non-projected graphic”)Slide72

Videorecordings as Accompanying Material

See “analytical vs. comprehensive entry” section of OCLC again “When to input a new record” section (again): http://www.oclc.org/bibformats/en/input/default.shtmPrinciple here: Accompanying material separately. “Records for items reflecting each of these options may coexist and are not duplicates.”72Slide73

Videorecordings as Accompanying Material: Example #1 (Ctd.)

73(Example of item with accompanying material, to be cataloged as a set or separately)Slide74

Videorecordings as Accompanying Material: Example #1 (Ctd.)

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(Cataloged as a set)Slide75

Videorecordings as Accompanying Material: Example #1 (Ctd.)

75(Record for book from set)Slide76

Videorecordings as Accompanying Material: Example #1 (Ctd.)

76(One of the DVDs from the set)Slide77

Cataloging Music/Performance Films: Cataloging Resources (Print)

Ashley, Lowell E., ed. Cataloging Music Moving Image Material. Canton, MA: Music Library Association, 1996.Hartsock, Ralph. Notes for Music Catalogers. Lake Crystal, MN: Soldier Creek Press, 1994Smiraglia, Richard P. Describing Music Materials. 3rd ed., rev. and enl., with the assistance of Taras Pavlovsky. Lake Crystal, MN: Soldier Creek Press, 1997.Weitz, Jay. Music Coding and Tagging. 2nd ed. Belle Plaine, MN, 2001.

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Cataloging Music/Performance Films: Music Resources (Print/Online)All Music Guide (Popular music):

http://www.allmusic.com/Oxford Music Online (Western Classical); need a subscription to view contentNettl, Bruno, and Ruth Stone. The Garland Encyclopedia of World Music. New York: Garland, 1998-2002.Zhongguo yin yue wang 中国音乐网: http://www.yyjy.com/Index.html78Slide79

Cataloging Music Films: Some Principles (Main Entry)AACR2 21.23C1: If sound recording contains works by different persons or bodies has a collective title, enter it under the heading for the person or body represented as principal performer

(Look at AACR2 21.23C examples)79Slide80

Cataloging Music Films: Some Principles (Main Entry, ctd.)

AACR2 21.23D1: Sound recording with different persons or bodies without a collective title, follow one of two instructions:If participation “goes beyond that of performance, execution, or interpretation,” enter under principle performer (popular styles)If participation does not go “beyond that of performance, execution, or interpretation,” enter under principle performer,” enter under first work (classical music)(Look at AACR2 21.23D1 examples)80Slide81

Cataloging Music Films: Some Principles (Main Entry, ctd.)

LCRI 21.23C: Section on Music Videos & Popular Music FoliosPrinciple for videorecordings: Apply AACR2 21.23C1 & 21.23D1 to videorecordings that contain collections of music performed by a principal performer81Slide82

Cataloging Music Films: Some Principles (Main Entry, ctd.)

Other trends in catalogingFilms tending to give performer/composer main entry:Pop/jazz concertsFeatured soloists (Opera singers, Broadway stars)Works featuring single to several works of Western classical musicFilms tending to give title main entry:Musicals (Feature films and filmed musicals)Operas (Feature films and filmed operas)82Slide83

Cataloging Music Films: Main Entry (Example #1)83Slide84

Cataloging Music Films: Main Entry (Example #2)84Slide85

Cataloging Music Films: Title/Statement of ResponsibilityTranscription issuesFor most films, production companies, producers, directors transcribed (and in that order)

AACR2 7.1F: Transcribe persons/bodies with a major role in creating a filmFor music/performance films, this could/would include: principal performers, composers, librettists, choreographersUsually, people above should be listed first85Slide86

Cataloging Music Films: Title/Statement of Responsibility (Example #1)

86(Order on title frames)

(1)(2, etc.)Slide87

Cataloging Music Films: Title/Statement of Responsibility (Example #1, ctd.)

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Note: Title main entry given(Order on title frames)Slide88

Cataloging Music Films: Title/Statement of Responsibility (Example #2)

88(Order on title frames)Slide89

Cataloging Music Films: Music Uniform TitlesAACR2 25.25-25.35 (and LCRIs)Useful source (collocates

all relevant AACR2 rules and LCRIs pertaining to music uniform titles):Koth, Mickey. Uniform Titles for Music. Lanham, MD: Scarecrow Press, 2008.89Slide90

Cataloging Music Films: Music Uniform TitlesTwo types of uniform titles for musicDistinctive

Non-distinctive titlesNames a “type” music composition (e.g., symphonies, preludes, nocturnes)Like other kinds of uniform titles, initial articles are dropped (in languages that have them)90Slide91

Cataloging Music Films: Music Uniform Titles (Ctd.)

May find uniform titles traced on films of:OperasMusicalsWestern classical works91Slide92

Cataloging Music Films: Music Uniform Titles (Examples)92

(Opera itself)

(Book on which opera is based)(Same as above)**Note: Uniform titles for operas/musicals on DVD almost always treated like related works, and not analytical tracings.Slide93

Cataloging Music Films: Music Uniform Titles (Examples, ctd.)

93(Notice how this work is traced as a name-title uniform title entry)

**Unrelated note: Opus or other numbers, keys, and medium ofperformance is not treated as other title information when transcribingnon-distinctive music titles (see AACR2 5.1B1)Slide94

Cataloging Music Films: Subject/Genre HeadingsSubject Headings Manual (SHM) indexes all music subject heading guidelines in H1916.3

Basic genre heading instructions for motion pictures/AV in H191394Slide95

Cataloging Music Films: Subject/Genre Headings (Ctd.)

AV-specific issues for music:Concert films are considered “non-fiction films”Operas and musicals: Filmed stage performances are considered “non-fiction”Operas/musicals filmed as feature films are considered “fiction” 95Slide96

Cataloging Music Films: Subject/Genre Headings (Ctd.)

Examples of genre headings:Filmed musicals; Filmed operas (Filmed stage performances: non-fiction)Musical films; Opera films (Theatrically-released feature films: fiction)Concert films (non-fiction)96Slide97

Cataloging Music Films: Subject/Genre Headings (Examples)

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Other Performance Film IssuesDance films: Uniform title tracings for choreographic worksSee

LCRI 25.5B, section on “Choreographic works”Purpose: Need to collocate different versions of the “same basic work” and differentiate them in a meaningful way98Slide99

Other Performance Film Issues (Ctd.)

Anatomy of a choreographic work tracing:130 0 [Work in question] ([Choreographic work : choreographer(s)])99Slide100

Other Performance Film Issues (Choreographic U.T. Examples)

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(Order: title of work, qualifier “choreographic work,” choreographer, choreographers on which the choreographer in question based their work)Slide101

Advanced Concepts: OCLC/PCC Standards for RecordsWhen to Create a New Record

Parallel Language RecordsDuplicate Record Detection (DDR)PCC Bibliographic Standard Records for Audiovisual Materials101Slide102

When to Input a New Record: Considerations for Videorecordings

Follow “When to Input a New Record” guidelines, OCLC website: http://www.oclc.org/bibformats/en/input/Issuance on a new format (e.g., a DVD release of a film originally released on VHS)Significant differences in running timeDifferent publishers/distributors (as represented in the 260 field)102Slide103

When to Input a New Record (ctd.)Specific technical differences (color vs. b & w, stereo vs. mono, etc.; wide- vs. fullscreen)

Differences in video system (NTSC vs. PAL, regional differences)Special features or not103Slide104

When to Input a New Record: CJK-Specific Issues (Audience discussion)Several pre-sent Q&As have specifically to do with this

Problem: Discrepancies between what is on the film and containerAmerican distributor with CJK on the film itselfDo we Enhance record or create a new one?Discussion of questionable itemsRecommendations/Discussion104Slide105

Duplicate Detection and Resolution (DDR)OCLC software for recognizing and merging duplicate records in multiple formats (including audiovisual materials)

Originally just used for booksPower to merge a larger number of duplicates than beforeJay Weitz’s webinar: “Cataloging Defensively: When to Input a New Record in the Age of DDR” (See “Date recorded” “October 28, 2010”)105Slide106

Parallel Language Records: PrinciplesTwo Basic Principles:

Parallel records are allowed in WorldCat by language of catalogingOne record per language of descriptive cataloging is allowed for each manifestation of a title106Slide107

Parallel Language Records: IdentificationField 040 contains a code for language of cataloging (except English)

Field 300Non-quoted notes in 5xx field(s)The GMD in the 245 $h*From OCLC page on parallel records:http://www.oclc.org/bibformats/en/specialcataloging/default.shtm#BCGBAEHC 107Slide108

Parallel Language Records: Examples108

(English language record: #276369783)(Japanese language record: #675960912)Slide109

BIBCO Standard Record (BSR) for Audiovisual MaterialsGeneral principles: model for bibliographic records using a single encoding level to replace previous BIBCO full and core levels

BSRs provide “metadata application profiles” (MAPs) that include mandatory or mandatory if applicable elements appropriate to bibliographic formatsLink to BIBCO MAPs: http://www.loc.gov/catdir/pcc/bibco/BSR-MAPS.htmlLink to BSR for Moving Image Materials: http://www.loc.gov/catdir/pcc/bibco/BSR_MIM_3Sept-2010.pdf109Slide110

Questions?

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Thank you! ありがとう!

谢谢! 감사합니다! Mahalo! Peter H. Lisius

Music and Media Catalog LibrarianAssistant ProfessorKent State University LibrariesP.O. Box 5190Kent, OH 44242(330) 672-6316 (Office)plisius@kent.edu

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