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
1
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

2
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
3
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
4
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
5
Subject/Genre Headings:
MARC Example #1
(Add to documentaries,
educational and
instructional films,
concerts)
6
Subject/Genre Headings: MARC
Example #2
(Add to feature films, musical
and opera films (non-staged))
7
Subject/Genre Headings: MARC
Examples #3 & 4
(Could add both if content
warrants it)
8
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
9
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

10
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/
11
Personal/Corporate Name Added
Entries: Example #1
Codes represented here: Director (drt), producer (pro),
interviewer (ivr), and narrator (nrt).
12
Personal/Corporate Name Added
Entries: Example #2
(Common addition when
“corporateness” is not
clear—see
AACR2 Ch. 24)
13
Personal/Corporate Name Added
Entries: Example #3
245 $c
511
260
245 $c
14
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
15
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.:
16
Non-Collective Titles: Title Added
Entries (per LCRI 21.30J)
[videorecording]
17
Non-Collective Titles: Title Added
Entries (per LCRI 21.30J) (ctd.)
(Follow 2nd example)
18
Non-Collective Titles: Models
Illustrating Access (per LCRI 21.30J)
(Common in AV)
19
Non-Collective Titles: Models
Illustrating Access (per LCRI 21.30J)
20
Non-Collective Titles: CJK Example
#3
#1
#4
#2
#2
#3
#4
#2
#4
21
Non-Collective Titles: 5xx Notes
(Example #1)
22
Non-Collective Titles: 5xx Notes
(Example #2)
23
Non-Collective Titles: Choice to
Describe Works Separately
24
Non-Collective Titles: Choice to
Describe Works Separately (Ctd.)
(1st film)
(2nd film)
25
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
26
Collective Title: Several Films on
One DVD (Example)
27
Collective Title: Several Films on
One DVD (Example)
28
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?
29
“Vernacular” vs. “AACR2” Series
Statements: Jay Weitz’s Description*
“Series” in the
Vernacular Sense
A.
B.
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.
30
“Vernacular” vs. “AACR2” Series
Statements: What is Publisher Saying?

A.
B.
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
31
“Television” Series:
Example #1
(PBS Television series,
American masters)
32
“Television” Series:
Example #1 (ctd.)
33
“Television” Series: Example #2
Episode in question
34
“Television” Series: Example #2
(Probably should be a 500 note)
35
“AACR2” Series: Example #1
36
“AACR2” Series: Example #1 (Ctd.)
(Numbering practice from authority record)
37
“AACR2” Series: Example #2
38
“AACR2” Series: Example #2 (Ctd.)
(Numbering practice from authority record)
39
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

40
Uniform Titles: Motion Pictures and
Television Programs
AACR2 25.5B: Conflict resolution
41
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

42
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

43
Uniform Titles: Motion Pictures
PCC practice—assign uniform titles in the
following situations:
1.
2.
3.
4.
5.
6.
7.
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
44
Uniform Titles: Motion Pictures
(Reads “60 Anniversary”)
(Example #1)
th
(1945 version)
(1962 version)
45
Uniform Titles: Motion Pictures
(Example #1, ctd.)
(1945 version)
(1962 version)
46
Uniform Titles: Motion Pictures
(Example #2)
c2004
47
Uniform Titles: Motion Pictures
(Example #2, ctd.)
(2004 version)
48
Uniform Titles: Television Programs
PCC Practice—assign uniform titles in the
following situations:
1. Same title, different resources
2. Comprehensive title/individual title
3. Compilations
49
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.
50
Uniform Titles: Television Programs
(Jay Weitz’s suggestions, ctd.)
245 title construction changes also because of
LCRI 25.5B1
 For individual titles that are part of a
comprehensive title intended to be viewed
consecutively, construct title proper as:

◦ Comprehensive title, plus
◦ Numeric designation, plus
◦ Individual title
245 00 Comprehensive title. $n Numeric designation,
$p Individual title $h [videorecording].
51
Uniform Titles: Television Programs
(PBS Television series,
American masters—
comprehensive title)
(Individual title)
52
Uniform Titles: Television Programs
(Ctd.)
*Note—sometimes “comprehensive title” doesn’t appear on chief source.
In this case, it appears on both possible chief sources.
53
Uniform Titles: Television Programs
(Ctd.)
(Comprehensive title, individual title)
54
Uniform Titles:
Audience Questions/Participation

Audience questions (sent prior to
workshop)
Any other questions about
uniform titles???
55
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.shtm

Principle here: A record for a multipart
item or serial and records for their
individual parts or issues may coexist
56
Cataloging a Set: Example
57
Cataloging a Set: Example (Ctd.)
58
Cataloging a Subset: Example
59
Cataloging a Subset: Example (ctd.)
(Set of three films part of a larger set)
60
Cataloging Individual Records:
Example #1
61
Cataloging Individual Records:
Example #1 (Ctd.)
(Title for set becomes a series statement)
62
Cataloging Individual Records:
Example #2
(Notice whole-part construction on printed label)
63
Cataloging Individual Records:
Example #2
Notice order: $a, $n, $p, $h
64
Videorecordings with
Accompanying Material

Types of accompanying material
◦
◦
◦
◦

External vs. internal
Booklets
CD-/DVD-ROMs
Music CDs
Considerations
◦ Importance of the accompanying material as
its own item
◦ To what extent this is brought out on the
bibrec
65
Videorecordings with Accompanying
Material: MARC Tagging Conventions

006 Field
◦ Purpose: To code “additional” aspects of
accompanying material that cannot be coded
in the 008 fixed fields (e.g., aspects of a CDROM)

Additional 007 fields
◦ Used 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)
66
Videorecordings with Accompanying
Material: Example #1 (Ctd.)
…one CD-ROM
67
Videorecordings with Accompanying
Material: Example #1 (Ctd.)
Two DVDs plus…
68
Videorecordings with Accompanying
Material: Example #1 (Ctd.)
Book (i.e., PDF)
Computer file (i.e.,
CD-ROM)
Physical characteristics of a CD-ROM
69
Videorecordings with Accompanying
Material: Example #2
70
Videorecordings with Accompanying
Material: Example #2 (Ctd.)
Book (e.g., guidebook)
(Probably also code have coded for “non-projected graphic”)
71
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.shtm

Principle here: Accompanying material
separately. “Records for items reflecting
each of these options may coexist and are
not duplicates.”
72
Videorecordings as Accompanying
Material: Example #1 (Ctd.)
(Example of item with accompanying material, to be cataloged
as a set or separately)
73
Videorecordings as Accompanying
Material: Example #1 (Ctd.)
(Cataloged as a set)
74
Videorecordings as Accompanying
Material: Example #1 (Ctd.)
(Record for book from set)
75
Videorecordings as Accompanying
Material: Example #1 (Ctd.)
(One of the DVDs from the set)
76
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, 1994
Smiraglia, 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.
77
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 content
 Nettl, 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.html

78
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)

79
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)
80
Cataloging Music Films: Some
Principles (Main Entry, ctd.)
LCRI 21.23C: Section on Music Videos &
Popular Music Folios
 Principle for videorecordings: Apply
AACR2 21.23C1 & 21.23D1 to
videorecordings that contain collections
of music performed by a principal
performer

81
Cataloging Music Films: Some
Principles (Main Entry, ctd.)
Other trends in cataloging
 Films tending to give performer/composer main
entry:

◦ Pop/jazz concerts
◦ Featured soloists (Opera singers, Broadway stars)
◦ Works featuring single to several works of Western
classical music

Films tending to give title main entry:
◦ Musicals (Feature films and filmed musicals)
◦ Operas (Feature films and filmed operas)
82
Cataloging Music Films: Main Entry
(Example #1)
83
Cataloging Music Films: Main Entry
(Example #2)
84
Cataloging Music Films:
Title/Statement of Responsibility





Transcription issues
For most films, production companies,
producers, directors transcribed (and in that
order)
AACR2 7.1F: Transcribe persons/bodies with
a major role in creating a film
For music/performance films, this could/would
include: principal performers, composers,
librettists, choreographers
Usually, people above should be listed first
85
Cataloging Music Films: Title/Statement
of Responsibility (Example #1)
(1)
(Order on title frames)
(2, etc.)
86
Cataloging Music Films: Title/Statement
of Responsibility (Example #1, ctd.)
(Order on title frames)
Note: Title main entry given
87
Cataloging Music Films: Title/Statement
of Responsibility (Example #2)
(Order on title frames)
88
Cataloging Music Films: Music
Uniform Titles
AACR2 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.

89
Cataloging Music Films: Music
Uniform Titles

Two types of uniform titles for music
◦ Distinctive
◦ Non-distinctive titles
 Names a “type” music composition (e.g.,
symphonies, preludes, nocturnes)

Like other kinds of uniform titles, initial
articles are dropped (in languages that
have them)
90
Cataloging Music Films: Music
Uniform Titles (Ctd.)
May find uniform titles traced on films of:
 Operas

Musicals

Western classical works
91
Cataloging Music Films: Music
Uniform Titles (Examples)
(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.
92
Cataloging Music Films: Music
Uniform Titles (Examples, ctd.)
(Notice how this work is traced as a name-title uniform title entry)
**Unrelated note: Opus or other numbers, keys, and medium of
performance is not treated as other title information when transcribing
non-distinctive music titles (see AACR2 5.1B1)
93
Cataloging Music Films:
Subject/Genre Headings

Subject Headings Manual (SHM) indexes
all music subject heading guidelines in
H1916.3

Basic genre heading instructions for
motion pictures/AV in H1913
94
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”
95
Cataloging Music Films:
Subject/Genre Headings (Ctd.)
Examples of genre headings:
 Filmed musicals; Filmed operas (Filmed
stage performances: non-fiction)
 Musical films; Opera films (Theatricallyreleased feature films: fiction)
 Concert films (non-fiction)

96
Cataloging Music Films:
Subject/Genre Headings (Examples)
97
Other Performance Film Issues
Dance films: Uniform title tracings for
choreographic works
 See LCRI 25.5B, section on
“Choreographic works”
 Purpose: Need to collocate different
versions of the “same basic work” and
differentiate them in a meaningful way

98
Other Performance Film Issues
(Ctd.)
Anatomy of a choreographic work
tracing:
130 0 [Work in question] ([Choreographic
work : choreographer(s)])
99
Other Performance Film Issues
(Choreographic U.T. Examples)
(Order: title of work, qualifier “choreographic work,”
choreographer, choreographers on which the choreographer
in question based their work)
100
Advanced Concepts:
OCLC/PCC Standards for Records

When to Create a New Record

Parallel Language Records

Duplicate Record Detection (DDR)

PCC Bibliographic Standard Records for
Audiovisual Materials
101
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 time
 Different publishers/distributors (as
represented in the 260 field)

102
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 not

103
When to Input a New Record: CJKSpecific Issues (Audience discussion)
Several pre-sent Q&As have specifically to
do with this
 Problem: Discrepancies between what is
on the film and container

◦ American distributor with CJK on the film
itself
◦ Do we Enhance record or create a new one?
◦ Discussion of questionable items
◦ Recommendations/Discussion
104
Duplicate Detection and Resolution
(DDR)
OCLC software for recognizing and merging
duplicate records in multiple formats (including
audiovisual materials)
 Originally just used for books
 Power to merge a larger number of duplicates
than before
 Jay Weitz’s webinar: “Cataloging Defensively:
When to Input a New Record in the Age of
DDR” (See “Date recorded” “October 28,
2010”)

105
Parallel Language Records: Principles
Two Basic Principles:
1.
2.
Parallel records are allowed in WorldCat
by language of cataloging
One record per language of descriptive
cataloging is allowed for each
manifestation of a title
106
Parallel Language Records:
Identification
1.
2.
3.
4.
Field 040 contains a code for language of
cataloging (except English)
Field 300
Non-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/defaul
t.shtm#BCGBAEHC
107
Parallel Language Records: Examples
(English language record: #276369783)
(Japanese language record: #675960912)
108
BIBCO Standard Record (BSR) for
Audiovisual Materials




General 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 formats
Link to BIBCO MAPs:
http://www.loc.gov/catdir/pcc/bibco/BSR-MAPS.html
Link to BSR for Moving Image Materials:
http://www.loc.gov/catdir/pcc/bibco/BSR_MIM_3Sept2010.pdf
109
QUESTIONS?
110
Thank you! ありがとう!
谢谢!
감사합니다!
Mahalo!
Peter H. Lisius
Music and Media Catalog Librarian
Assistant Professor
Kent State University Libraries
P.O. Box 5190
Kent, OH 44242
(330) 672-6316 (Office)
plisius@kent.edu
111