Cataloging Films and Video Recordings (Advanced)

1. Cataloging Films and Video Recordings (Advanced) CEAL Committee on Technical Processing March 31, 2011 University of Hawaii at Manoa Hamilton Library Presented by Peter H. Lisius Kent State University

2. Advanced Concepts: Access Points, Sets, Performance Films, etc. • Subject/Genre Headings • Tracings • Non-Collective Titles • Issues with Series • Uniform Titles • Concert/Performance Films • Cataloging a set vs. an individual item • Video Recordings with or as Accompanying Material

3. Advanced Concepts: OCLC/PCC Standards for Records • When to Create a New Record • Duplicate Records/DDR • Parallel Language Records • PCC Bibliographic Standard Records (BSRs) for Audiovisual Materials

4. Subject/Genre Headings: 6xx • Subject headings • General considerations • “$v Drama” for feature films • Genre headings (655 headings) • Generally end with “films” • Used for both documentary and feature films • See H 1913 section of Subject Headings Manual (SHM) • http://www.loc.gov/catdir/cpso/genreformgeneral.html

5. Genre Headings: Examples • Fiction films • Feature films • Comedy films • Romance films • Musical films • James Bond films • Submarine films • Buddy films • Road films • Thrillers (Motion pictures) • (etc.) • Nonfiction films • Documentary films • Filmed lectures • Filmed speeches • Educational films • Instructional films • (etc.) • Videorecordings for the hearing impaired • Films for the hearing impaired • Television programs for the hearing impaired

6. Subject/Genre Headings: MARC Example #1 (Add to documentaries, educational and instructional films, concerts)

7. Subject/Genre Headings: MARC Example #2 (Add to feature films, musical and opera films (non-staged))

8. Subject/Genre Headings: MARC Examples #3 & 4 (Could add both if content warrants it)

9. 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 & 24

10. Special Considerations: Corporate Bodies • Bodies having to do with the actual production of the film usually in 245 $c • Bodies 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 functions • Will discuss problematic issues in “When to Input a New Record” section

11. Corporate Bodies: $4 Relator Codes • Relator codes in MARC • Allow 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/

12. Personal/Corporate Name Added Entries: Example #1 Codes represented here: Director (drt), producer (pro), interviewer (ivr), and narrator (nrt).

13. Personal/Corporate Name Added Entries: Example #2 (Common addition when “corporateness” is not clear—see AACR2 Ch. 24)

14. Personal/Corporate Name Added Entries: Example #3 245 $c 511 245 $c 260

15. Non-Collective Titles • AACR2 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 sources • Order appearing on chief source (one item) • Treat multiple sources of information as if they were one

16. 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.:

17. Non-Collective Titles: Title Added Entries (per LCRI 21.30J) [videorecording]

18. Non-Collective Titles: Title Added Entries (per LCRI 21.30J) (ctd.) (Follow 2nd example)

19. Non-Collective Titles: Models Illustrating Access (per LCRI 21.30J) (Common in AV)

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

21. Non-Collective Titles: CJK Example #3 #1 #4 #2 #2 #3 #4 #2 #4

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

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

24. Non-Collective Titles: Choice to Describe Works Separately

25. Non-Collective Titles: Choice to Describe Works Separately (Ctd.) (1st film) (2nd film)

26. Collective Title: Several Films on One DVD AACR2 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

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

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

29. Series & Videorecordings • Rules for series: AACR2 7.6B1—points back to AACR2 1.6B1 • Prescribed sources of information: • Chief source of information (frames, disc) • Accompanying material • Container (Outside) • Problem: Is it a series in the AACR2 sense, or in the “vernacular (i.e., television” sense?

30. “Vernacular” vs. “AACR2” Series Statements: Jay Weitz’s Description* “Series” in the Vernacular Sense • A daily or weekly program with the same cast and format and a continuing story • A number of related programs having the same theme, cast, or format “Series” in the AACR2 Sense • A 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. *As given at the Advanced Videorecordings Cataloging Workshop, OLAC 2008.

31. “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 note • 730 related title added entry • The 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/8xx series added entry

32. “Television” Series:Example #1 (PBS Television series, American masters)

33. “Television” Series:Example #1 (ctd.)

34. “Television” Series: Example #2 Episode in question

35. “Television” Series: Example #2 (Probably should be a 500 note)

36. “AACR2” Series: Example #1

37. “AACR2” Series: Example #1 (Ctd.) (Numbering practice from authority record)

38. “AACR2” Series: Example #2

39. “AACR2” Series: Example #2 (Ctd.) (Numbering practice from authority record)

40. 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 cataloged • To differentiate between two or more works published under identical titles proper • To organize the file

41. Uniform Titles: Motion Pictures and Television Programs AACR2 25.5B: Conflict resolution

42. Uniform Titles: Motion Pictures and Television Programs • LCRI 25.5B, Appendix I: Additions for motion pictures, television programs, and radio programs • This document represents PCC practice • Covers rule interpretations for: motion pictures, television programs, and radio programs • Further focus on: motion pictures/programs themselves; resources related to motion pictures/programs themselves

43. Uniform Titles: Motion Pictures and Television Programs (Ctd.) • We will exclude from our discussion: • Radio programs • We will focus principally on motion pictures and television programs themselves • Some attention will be given to resources related to motion pictures and television programs

44. Uniform Titles: Motion Pictures PCC practice—assign uniform titles in the following situations: • Same title, different resources • Different titles in the same language • Dubbed motion pictures • Motion pictures with translated intertitles • Subtitled motion picture released under a different title • Motion picture filmed simultaneously in different languages under different titles • Comprehensive title/Individual title

45. Uniform Titles: Motion Pictures (Example #1) (Reads “60th Anniversary”) (1945 version) (1962 version)

46. Uniform Titles: Motion Pictures (Example #1, ctd.) (1945 version) (1962 version)

47. Uniform Titles: Motion Pictures (Example #2) c2004

48. Uniform Titles: Motion Pictures (Example #2, ctd.) (2004 version)

49. Uniform Titles: Television Programs PCC Practice—assign uniform titles in the following situations: • Same title, different resources • Comprehensive title/individual title • Compilations

50. Uniform Titles: Television Programs (Jay Weitz’s suggestions)* • Use qualifier “television program” for resources originally aired on television • Use 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) *Part of advanced Videorecordings Cataloging Workshop at OLAC-MOUG 2008.