Cataloging with AMIM
Jane D. Johnson
OLAC Workshop
St. Paul, Minnesota
September 27-28, 2002
Overview
What is AMIM?
Basic cataloging principles
The AMIM approach
Layout of the rules
AMIM strengths & complications (overview)
AMIM strengths (in detail)
Cataloging exercise
Q&A
What is AMIM?
Archival Moving Image Materials : a Cataloging Manual,
2nd edition (Washington, D.C.: Library of Congress,
2000)
Thoroughly revised and expanded
First published in 1984
– Pre-VHS
– Influenced by FIAF
What is AMIM?
Within general framework of AACR2 Chapter 7
All types of moving image materials
Every conceivable physical format
What is AMIM?
Prepared by a committee of LC’s MBRS staff
Available from CDS
On Cataloger’s Desktop
Updates at CPSO website:
http://lcweb.loc.gov/catdir/cpso/amimupd.html
Why more rules?
 AACR2: These rules … are not specifically intended
for specialist and archival libraries, but such libraries
are recommended to use the rules as the basis of their
cataloguing and to augment their provisions as necessary.”
 AMIM: “developed and written within the
framework of ISBD and AACR2’s Chapter 7.”
AMIM in context
AMIM
APPM
Descriptive Cataloging Of Rare Books
Graphic Materials
Oral History Cataloging Manual
Archival materials defined
“Archival materials are those materials intended
to be kept so that they may be available for
future generations, regardless of their age at
the time of acquisition”
--AMIM
Who uses AMIM?
 Moving image archives
 Libraries cataloging archival collections
 Archives cataloging current commercial
releases
Cutter’s Objects of the Catalog
1. To enable a person to find a book of which either
the author, the title, or the subject is known.
2. To show what the library has by a given author, on a
given subject, in a given kind of literature.
3. To assist in the choice of a book as to the edition
(bibliographically), as to its character (literary or
topical).
Cutter’s Objects of the Catalog
1. To enable a person to find a book of which either
the author, the title, or the subject is known.
(finding function)
2. To show what the library has by a given author, on a
given subject, in a given kind of literature.
(collocating function)
Distinguishes catalog from simple title list
Main entry has traditionally served this function
FRBR Entities (Functional
Requirements of the Bib Record)
Work: a distinct intellectual or artistic creation.
Expression: the intellectual or artistic realization of a
work
Manifestation: the physical embodiment of an
expression of a work.
Item: a single exemplar of a manifestation
FRBR Examples
w1 William Shakespeare's play Romeo and Juliet
w2 Franco Zeffirelli's film Romeo and Juliet
w3 Baz Lurhmann's film William Shakespeare's Romeo and Juliet
Work-Expression-Manifestation
w2 Franco Zeffirelli's film Romeo and Juliet
• e1 original U.S. release
– m1 35 mm. safety print
– m2 35 mm. original negative
– m3 ½ in. videocassette (VHS)
– m4 ½ in. videocassette (Betamax)
• e2 airline version
• e3 director’s cut
Who’s cataloging what
FRBR
Work
Expression
Manifestation
Archival
Standard
Franco Zeffirelli's motion picture Romeo and Juliet
original U.S. release
35 mm. safety print
VHS
35 mm. original neg
Beta
Preservation as a priority
 Inclusion of multiple manifestations (“copies”) on a
single record for at-a-glance comparison
Multiple “copies” on a single record
Poppin’ the cork / Educational Pictures ; producer, Jack White ;
dance director, Bob Alton.
United States : Fox Film Corp., 1933.
3 film reels of 3 (ca. 25 min., 883 ft.) : sd., b&w ; 16 mm.
viewing print.
3 film reels of 3 (inc.) (ca. 19 min., 1,686 ft.) : sd., b&w ; 35
mm. nitrate print.
2 film reels of 3 (r2-3) (ca. 1,000 ft.) : sd., b&w ; 35 mm.
nitrate original negative.
Copyright: Educational Productions, Inc. ; 15Dec33 ; LP4358.
Music, James Hanley and Benny Davis.
Cast: Milton Berle, Norman Taylor, Mary Cole, Gertrude Rudge.
Preservation as a priority
Emphasis on provenance, history of works,
relationship between expressions of a particular work
Preservation as a priority
Expectation that cataloging involves research
Why more research?
Only a content change indicates new expression
Description based on original expression
Layout of the rules
AMIM
AACR2 Chapter 7
0 General rules
7.0 General rules
1 Title and statement of
responsibility area
7.1 Title and statement of
responsibility area
2 Version, edition area
7.2 Edition area
3 Country of production area
7.3 Not used
4 Distribution, release,
broadcast area
7.4 Publication, distribution,
etc. area
5 Physical description area
7.5 Physical description area
6 Series area
7.6 Series area
7 Note area
7.7 Note area
AMIM appendices
A
Access points
B
Examples of complete records
C
Collection-level cataloging
D
Form terms
E
Conversion charts
F
Eastman Kodak edge date codes
 Glossary, Bibliography, Index
AMIM references to AACR2
 Transcription of symbols
 Punctuation
 Capitalization
 Abbreviations
 Numerals
 Title added entries
 GMDs
 Sound recordings (See AACR2 chapter 6)
 Non-television series and series added entries (see AACR2
Chapters 21, 25, 26)
AMIM strengths
Expression-based cataloging record
Entry of television programs
Detailed title rules for series, including television
Detailed supplied title rules
Detailed rules for breaking conflicts using uniform title
AMIM strengths
Guidance on outtakes, trailers, etc.
Guidelines for choice and placement of statements of
responsibility
Special rules for release, broadcast, etc.
Detailed physical descriptions
AMIM strengths
Guidance on what constitutes a new version
Guidance on notes
Appendices and other “perks”
Addresses ambiguous terms specific to moving
images
AMIM complications
Expression-based cataloging
Expression-based cataloging
Roots, the next generations. Show no. 4 / a David L. Wolper Production ;
director, Charles S. Dubin ; producer, Stan Margulies ; teleplay developed
for TV [by] Ernest Kinoy.
United States : ABC, 1979-02-21.
2 videocassettes of 2 (ca. 120 min.) : sd., col. ; 3/4 in. viewing copy.
2 film reels of 2 (ca. 120 min., ca. 4,300 ft.) : sd., col. ; 16 mm. viewing
print.
Copyright: Warner Brothers, Inc. DCR 1979; PUB 31Jan79 (in notice: 1978);
REG 15Oct79; PA49-182.
Cast: Dorian Harewood, Charles Weldon, Bernie Casey, Irene Cara, Stan Shaw,
Debbi Morgan, Rosie Grier.
Based on the books, Roots and Search, and on additional material by Alex
Haley.
Sources used: copyright description; TV guide (New York ed.), Feb. 17, 1979,
p. A-38, A-97.
Not viewed.
AMIM complications
Description based on original release, not item in
hand
Change in title alone doesn’t warrant new record
Title on item not necessarily recorded in MARC
245 field
AMIM complications
Rerelease and reissue titles
Original release of Republic serial
245 00 $a Perils of Nyoka. $n Chapter 14, $p Blazing barrier.
Rerelease of same
Nyoka and the tiger men. $n Chapter 14, $p Blazing barrier.
AMIM complications
Rerelease and reissue titles
Original release of Republic serial
245 00 $a Perils of Nyoka. $n Chapter 14, $p Blazing barrier.
Rerelease of same
AACR2
130 0_ $a Perils of Nyoka. $n Chapter 14, $p Blazing barrier.
245 00 $a Nyoka and the tiger men. $n Chapter 14, $p Blazing barrier.
AMIM
245 00 $a Perils of Nyoka. $n Chapter 14, $p Blazing barrier.
246 1_ $i Reissued as: $a Nyoka and the tiger men. $n Chapter 14, $p Blazing
barrier.
AMIM complications
Rerelease and reissue titles
AMIM
245 00 $a Perils of Nyoka. $n Chapter 14, $p Blazing barrier.
246 1_ $i Reissued as: $a Nyoka and the tiger men.
35 mm. safety print
35 mm. safety print (copy 2)
Which version(s) does the AMIM library have?
AMIM complications
Expression-based cataloging
Description based on original release, not item in
hand
Change in title alone doesn’t warrant new record
Title on item not necessarily recorded in title area
Uniform title rules
AMIM complications
Uniform title rules: later version
British feature (original)
130 0_ $a Stardust (Motion picture)
245 10 $a Stardust
Reedited version
130 0_ $a Stardust (Motion picture) No.
245 00 $a He loved an actress
AMIM complications
Uniform title rules: later version
British feature (original)
130 0_ $a Stardust (Motion picture)
245 10 $a Stardust
Reedited version
245 00 $a He loved an actress
730 0_ $a Stardust (Motion picture)
AMIM complications
Uniform title rules: later version
Searching for director Melville Brown:
Dance hall
He loved an actress
Jazz heaven
The love doctor
Red lips
Smouldering fires
Stardust (Motion picture)
Where was I
Versions of the work are scattered.
AMIM complications
Uniform title rules: simultaneous release
Title released in France
Same work released in Germany
130 Coup de grace (Motion
picture
130 Fangschuss (Motion picture)
245 Coup de grace
245 Der Fangschuss
250 [French language original]
250 [German language original]
500 German originally released as
Der Fangschuss.
500 French original released as
Coup de grace.
730 Fangschuss (Motion picture)
730 Coup de grace (Motion picture)
AMIM complications
Uniform title rules: later version
Searching for director Jutta Bruckner
Coup de grace
Do right and fear no one
Fangschuss
Versions of the work are scattered.
AMIM complications
Expression-based cataloging
Description based on original release, not item in
hand
Change in title alone doesn’t warrant new record
Title on item not necessarily recorded in title area
Uniform title rules
No parallel title
AMIM complications
Flexibility in transcription
– FRBR entities ambiguous
“The following information is transcribed from the work”
– Less emphasis on transcription
Release title in the same language as the original: variant title
Production company always the first statement of responsibility
Give the credits as they appear on the work [sic] or in secondary
sources
– Limited use of brackets
– More research
AMIM complications
Impact on shared cataloging
– Liberal inclusion of options, sometimes contradicting
rule
– Potential for variation in uniform title
– Descriptions of locally held copies spread throughout
bibliographic record
AMIM complications
Underlying assumptions
– Title in hand is unique
– Agency holds the original
– Resources available for research
Strengths
Entry of television programs
Record series and episode titles together in the title area
245 00 $a All in the family. $p Archie’s cousin
245 04 $a The march of time. $n Vol. 14, no. 18.
245 00 $a Perils of Nyoka. $n Chapter 9, $p Burned alive.
245 00 $a [CBS news. $n 1982-05-11. $p Evening].
245 04 $a The Ed Sullivan show. $n 1964-02-16.
Strengths: entry of television programs
Why the series title in the title area?
245 00 $a All in the family. $p Archie’s cousin
245 04 $a The march of time. $n Vol. 14, no. 18.
245 00 $a Perils of Nyoka. $n Chapter 9, $p Burned
alive.
245 00 $a [CBS news. $n 1982-05-11. $p Evening].
245 04 $a The Ed Sullivan show. $n 1964-02-16.
Collocates episodes in a particular series
Episode titles meaningless without the series title
Strengths: entry of television programs
Why the series title in the title area?
Strengths: entry of television programs
Why the series title in the title area?
All's Fair
The Baby Contest
Black is the Color of My True Love's Wig
Chain Letter
The Commercial
Edith Flips Her Wig
The Jerk
Little Miss Bunker
Love By Appointment
Maude
A Night at the PTA
No Smoking
Pay the Twenty Dollars
Super Bowl Sunday
This is Spinal Tap
The Threat
What'll We Do With Stephanie?
Where's Poppa?
Strengths: entry of television programs
Why the series title in the title area?
All in the family. All's Fair
All in the family. The Baby Contest
All in the family. Black is the Color of My True Love's Wig
All in the family. Chain Letter
All in the family. The Commercial
All in the family. Edith Flips Her Wig
All in the family. Little Miss Bunker
All in the family. Love By Appointment
All in the family. Maude
All in the family. A Night at the PTA
All in the family. No Smoking
All in the family. Pay the Twenty Dollars
All in the family. Super Bowl Sunday
All in the family. The Threat
All in the family. What'll We Do With Stephanie?
The jerk
This is Spinal Tap
Where's Poppa?
Strengths
Detailed title rules for series, TV
Strengths
Detailed title rules for series, TV
Choice of episode identifier
Normalization of titles
Series title changes
Episodes with more than one segment
Subseries
Theatrical serials and newsreels
Strengths: rules for television & other series
Choice of Episode Identifier
Episode title
(table of precedence)
245 00 $a I love Lucy. $p Lucy does the tango.
245 00 $a M*A*S*H*. $p Abyssinia Henry.
245 00 $a ABC news closeup. $p The weekend
athletes.
Strengths: rules for television & other series
Choice of Episode Identifier
Numeric designation
245 00 $a News of the day. $n Vol. 16, no. 232.
245 00 $a America 2night. $n Episode no. 233.
Strengths: rules for television & other series
Choice of Episode Identifier
Broadcast date
245 00 $a All my children. $n [1983-03-31].
245 00 $a Panorama. $n [1983-07-09].
245 04 $a The Academy Awards. $n [1984].
Strengths: rules for television & other series
Normalization of Titles
 Normalization of numbering designations (no., pt.)
 Normalization of supplied dates
• 245 00 $a All my children. $n [1983-03-29].
• 245 00 $a All my children. $n [1983-03-30].
• 245 00 $a All my children. $n [1983-03-31].
 Pilots
•
•
•
•
•
245 00 $a Simon & Simon. $p Pirate’s key. [add note]
245 00 $a 9 to 5. $p [Pilot].
245 00 $a Wild kingdom. $n Show no. 1. [add note]
245 04 $a The legend of Jesse James. $p [Pilot].
245 00 $a All in the family. $p The Jeffersons move up. [add
note]
• 245 00 $a Stingray. [add note]
Strengths: rules for television & other series
Normalization of Titles
Television news (optional rule)
•
•
•
•
245 00 $a ABC news. $n [1997-01-01]. $p Midday.
245 00 $a ABC news. $n [1997-01-01]. $p Morning.
245 00 $a ABC news. $n [1997-01-01]. $p Evening.
245 00 $a ABC news. $n [1997-01-02]. $p Evening.
Strengths: rules for television & other series
Normalization of Titles
Televised sports events
(optional rule)
• 245 00 $a [NFL football. $n 1993-10-12, $p Atlanta Falcons at
Chicago Bears].
• 245 00 $a [Wimbledon tennis. $n 1983-06-20].
• 245 00 $a [Super Bowl XXXII football. $n 1998-01-26, $p
Denver Broncos vs. Green Bay Packers].
Strengths: rules for television & other series
Normalization of Titles
Formalize titles, using (in this order)
•
•
•
•
•
League
Event
Name of sport
Broadcast date
Participants
For named sports event, use the name (Super Bowl)
Strengths: rules for television & other series
Series Title Changes
When a series title changes permanently, use the series
title for the time period of the episode being cataloged.
245 00 $a Disneyland. $p When knighthood was in flower
245 00 $a Walt Disney presents. $p Flash, the teenage otter
245 00 $a Walt Disney’s wonderful world of color. $p How the
West was won.
Strengths: rules for television & other series
Additional series title rules
Episodes with more than one segment
• 60 minutes
• Love American style
Subseries
• 245 00 $a ABC scope. $p The Vietnam War. $p Children of war.
• 245 00 $a Mystery. $p Die Kinder. $n Part 1, $p Direct action.
Theatrical serials and newsreels
• 245 00 $a Perils of Nyoka. $n Chapter 9, $p Burned alive.
• 245 00 $a News of the day. $n Vol. 37, no. 284.
Strengths
Detailed Supplied Title Rules
Constructing titles with form terms:
works associated with a titled work
– Robin Hood and the golden arrow—outtakes.
– Chariots of fire—trailers.
– The Ed Sullivan show. 1964-02-16—excerpts.
If work is dependent upon, and identified by its relationship to, a
titled work:
use title proper of titled work followed by form term.
Strengths
Detailed Supplied Title Rules
Other categories of material with form terms
– Newsreels, television news
– Television commercials, PSAs, etc.
– Works with an individual as the subject
– Amateur works
Strengths
Detailed Supplied Title Rules
Works with probable or questionable titles
Multiple works with no predominant part
Collections
Strengths
Rules for release, broadcast, etc.
Give name of country of distribution, not city
Rule for recording television station call letters
Rule for simultaneous distribution/release/broadcast
Rule for television broadcast dates and times
Can include original and rerelease info in single 260, if
same version
Strengths
Physical descriptions
Multiple physical descriptions
Detailed physical descriptions
Prescribed order for physical descriptions
•
•
•
•
Most accessible first
Original materials and nitrate follow others
Incomplete follows complete
Separate sound immediately follows separate pic to which it
corresponds
Strengths
Detailed physical descriptions
Number of units in hand
1
Strengths
Detailed physical descriptions
Specific material designation (SMD)
1 videocassette
Strengths
Detailed physical descriptions
Number of units if complete
1 videocassette of 1
If incomplete:
1 film reel of 2 (r2)
Strengths
Detailed physical descriptions
Technical specification
1 videocassette of 1 (VHS)
Strengths
Detailed physical descriptions
Running time and/or length
1 videocassette of 1 (VHS) (30 min.)
1 film reel of 1 (27 min., ca. 975 ft.)
1 videocassette of 1 (D2) (3 min., 14 sec.)
Strengths
Detailed physical descriptions
Projection, sound, and color characteristics;
film projection speed/video playing speed
1 videocassette of 1 (VHS) (100 min.) : letterbox, sd.,
col.
11 film reels of 11 (ca. 105 min., 9,450 ft.) :
nonanamorphic wide-screen, 1.66:1, opt sd., col. and
b&w
Strengths
Detailed physical descriptions
Dimensions
1 videocassette of 1 (VHS) (30 min.) : sd., col. ; ½ in.
1 film reel of 1 (975 ft.) : opt sd., b&w ; 35 mm.
• 16 gauges
• 7 videotape widths (excluding options)
• 6 videodisc diameters
Strengths
Detailed physical descriptions
Film base
1 film reel of 1 (975 ft.) : opt sd., b&w ; 35 mm. nitrate
1 film reel of 1 (975 ft.) : opt sd., b&w ; 35 mm. safety
1 film reel of 1 (975 ft.) : opt sd., b&w ; 35 mm. polyester
1 film reel of 1 (975 ft.) : opt sd., b&w ; 35 mm. acetate
1 film reel of 1 (975 ft.) : opt sd., b&w ; 35 mm. diacetate
1 film reel of 1 (975 ft.) : opt sd., b&w ; 35 mm. triacetate
Strengths
Detailed physical descriptions
Generation
1 film reel of 1 (975 ft.) : opt sd., b&w ; 35 mm. safety print
• about 5 dozen terms with (optional) authorized
abbreviations
Strengths
Detailed physical descriptions
Copy number
1 film reel of 1 (975 ft.) : opt sd., b&w ; 35 mm. safety
print (copy 2)
• Copy=set of elements that is a duplicate of another set in
every physical characteristic or that varies only slightly in
duration
• This is what allows linking between notes and physical
descriptions
New version?
YES
NO
Material added
Change in title/credits only
Material deleted
Material missing (incomplete)
Material added and deleted
(new ending)
Reformatting
Different language
– 16 mm. reduction print
– letterboxed version
Change in production element
– print
– pre-print
– video
Rereleases and reissues
Cataloging Exercise
What do Mister Peepers and The Odd Couple
have in common?
Reynolds Aluminum
<the strong, lightweight, rust-proof metal that does more jobs better presents>
Mister Peepers
Created by David Swift
Starring
WALLY COX
Commercial
“Reynolds Aluminum for cross-country trailers”
Commercial
“Reynolds Aluminum awnings”
Commercial
“Reynolds Wrap for baking Easter ham”
CAST
Mr. Peepers ………………………..… Wally Cox
Mrs. Gurney ……………………… Marion Lorne
Nancy Remington ……………..… Patricia Benoit
Mr. Weskit ………………………… Tony Randall
Marge …………...……………Georgiann Johnson
Coach Frank Whip …………………. Jack Warden
Bank clerk ……………………… William Lanteau
Written by
JIM FRITZELL
EVERETT GREENBAUM
Music by
BERNARD GREEN
Sets by
JAMES RUSSELL
Technical direction by
HANK BOMBERGER
Assistant to the producer
ROBERT COSTELLO
Produced and directed by
HAL KEITH
THE PEEPERS PRODUCTION
IS UNDER THE SUPERVISION OF
FRED COE
<Mister Peepers originates live from Radio City, New York>
Other facts about this episode
• Originally broadcast Sunday, April 4, 1954, 7:30 to 8:00
p.m., according to Complete directory of prime time
network TV shows / Tim Brooks. 1985.
• Rebroadcast August 4, 1954.
• This series did not have episode titles.
• It’s a sitcom
• The plot: Mr. Peepers gets a new motorcycle.
Your holdings (both complete)
• 16 mm. film
•
•
•
•
1 reel
triacetate kinescope positive
b&w
opt sd.
• VHS
• viewing copy reproduced from your kinescope, June 6, 1981
AMIM record
245 00 $a Mister Peepers. $n [1954-04-04] / $c NBC Television
presents ; Reynolds Aluminum ; created by David Swift ;
written by Jim Fritzell, Everett Greenbaum ; produced and
directed by Hal Keith ; the Peepers production is under the
supervision of Fred Coe.
257 __ $a United States.
260 __ $a United States : $b NBC, $c 1954-04-04.
300 __ $a 1 videocassette of 1 (VHS) (30 min.) : $b sd., b&w ; $c
½ in.
300 __ $a 1 film reel of 1 (30 min.) (ca. 1200 ft.) : $b opt sd., b&w
; $c 16 mm. $3 triacetate kinescope positive.
500 __ $a Situation comedy; live show; series.
500 __ $a Originally broadcast Sunday, April 4, 1954, 7:30 to 8:00
p.m., according to Complete directory of prime time network
TV shows / Tim Brooks. 1985.
AMIM record
500 __ $a”Mister Peepers originates live from Radio City, New
York”—Voice over.
500 __ $a Includes commercials for Reynolds Aluminum and
Reynolds Wrap.
508 __ $a Music by Bernard Green; sets by James Russell;
technical direction by Hank Bomberger; assistant to the
producer, Robert Costello.
511 0_ $a Cast: Starring Wally Cox (Mr. Peepers). Marion Lorne
(Mrs. Gurney); Patricia Benoit (Nancy Remington); Tony
Randall (Mr. Weskit); Georgiann Johnson (Marge); Jack
Warden (Coach Frank Whip); William Lanteau (Bank Clerk).
520 __ $a Mr. Peepers gets a new motorcycle.
541 __ $d Received: 6/6/1981; $3 videocassette; $a archive lab.
AACR2 cataloging
One record for kine, another for video
Unclear where to put series title
245 Mister Peepers. 1954-04-04
245 1954-04-04
730 Mister Peepers
245 1954-04-04
440 Mister Peepers
Fewer guidelines for
– statement of responsibility
– distribution area
More brackets
Questions?
http://www.cinema.ucla.edu