UCLA Film & Television Archive Cataloging Procedure Manual--Voyager
Follow AACR2 and the LC rule interpretations except when the following directs you to use rules from Archival Moving Image Materials (AMIM), or to follow local practice.
Be sure to follow AACR2 Appendix A for capitalization and Appendix B for abbreviations. For example:
AACR2 1.1: Indicate lacunae in the source of information where text is being transcribed (as, for example, when the material being cataloged is damaged) by the mark of omission enclosed in square brackets.
AACR2 1.1B1: Do not transcribe punctuation unless it is needed to preserve meaning. When in doubt, transcribe punctuation. Also see the following LC rule interpretations concerning transcription of diacritics, special characters and certain marks of punctuation:
EXAMPLES:
On first item: Symposium: film
On second item: Symposium: television
Transcribe first item as: Symposium--film
Transcribe second item as: Symposium--television
On item: The Emmy Awards: winners, losers ... and why
Transcribe as: The Emmy Awards : winners, losers-- and why
On item: ...And then there were none
Transcribe as: --And then there were none
AACR2 1.1B2: Follow AACR2 in transcribing possessive statements of responsibility that are an integral part of the title, but see Uniform titles for uniform title practice to remove these possessive forms. Follow the practices enumerated there in not transcribing any other statements of responsibility as part of the title, e.g., those in the form of "so-and-so in" or "so-and-so presents," and the like, except for Vitaphone shorts.
Title added entry indicator (MARC 21):
When a uniform title authority record has been made, create a cross reference for the title in the 245 field (if it is not the same as the uniform title), and change the first indicator in the 245 field to 0, even when the 245 title is different from the uniform title.
EXAMPLE:
When the uniform title is in the 245 field, change the first indicator to 1, not 0, to ensure inclusion of the title in the left-anchored title index in Voyager (even though this is not correct MARC 21 practice).
EXAMPLE:
AMIM1B1: Follow these rules for episode and issue titles. Obey the following rules (derived from the MARC 21 format) for use of $n and $p subfields:
Meaning: The episode or issue has both a number (A) and a title (B)
Meaning: Episode or issue B, identified by title, is a part of subseries A, identified by number
Meaning: Episode or issue B, identified by number, is a part of subseries A, identified by title
EXAMPLES FROM MARC 21:
EXAMPLES FROM OUR CATALOG:
In addition, follow the following local rules:
EXAMPLES:
- D) Are broadcast dates available for the majority of issues or episodes? If so, arrange them chronologically by broadcast date. Add the broadcast date in brackets after the series title, in the form yyyy-mm-dd.
EXAMPLES:
For syndicated programs whose original broadcast date varies from market to market, prefer the date found in the Southern California edition of TV guide; failing that, prefer the New York Metropolitan edition of TV guide.
AACR2 1.1C1 and AMIM 1C: Do not follow the option of adding general material designators (GMD's) to the description. [This local policy is due to our practice of treating videocassettes as copies of films when necessary.]
5.1.2, EXPLANATIONS ADDED TO TITLE PROPER:
AMIM 1E3: This rule for adding explanations to the title proper has been revised as of 1989. All such materials are considered to be untitled materials, and as such, the entire title should be supplied. Remember: If there is a title on the item, never supply one. The supplied title should consist of the name of the work to which the materials are related, followed by a double dash, and a form term for the type of material.
If there is further description available, e.g. the type of test (screentest), the person tested, the particular sequence(s) in an excerpt, etc, add a period to the supplied title constructed so far, and then add the further description.
Local policy: Use the following terms when they apply. If no term on this list seems to apply, use the term on the inventory form.
| FORM TERM | USE | EXAMPLES |
|---|---|---|
| announcement(s) | Use only for announcements clearly designed to be aired during a particular program. | [The adventures of Ozzie and Harriet--announcement. Special message. Salesman greetings]. |
| audition | Use for radio. | - |
| bloopers | AKA: gag reels, blow-ups. Use for unintentional mistakes by cast and crew; for intentional spoofs by cast and crew, use 'gag reels.' | - |
| breaking news | Use for news coverage that interrupts regular programming throughout the day. | |
| commercial(s) | Use only for commercials clearly designed to be aired during a particular program. |
|
| dailies | USE rushes | - |
| demo reel(s) | USE promotional film(s) | - |
| demo tape(s) | USE promotional video(s) | - |
| electronic press kit(s) | Use for footage distributed to the press for use in their stories. | - |
| excerpt(s) | Use for items identified as being 'sequence(s)', 'segment(s)', 'clip(s)', or 'fragment(s)'. Do not use for films which are simply incomplete. |
|
| featurette | USE promotional film |
|
| gag reels | AKA: bloopers, blow-ups; use for intentional spoofs by cast and crew. For unintentional mistakes by cast and crew, use 'bloopers.' | - |
| interview(s) | Use for an interview used to promote a particular film or program. | - |
| music | Use only for themes or scores existing independently of their programs; do not use for production elements such as music tracks. |
|
| music video | - | [Wild wild West (Motion picture : 1999)--music video. Will Smith]. |
| outtakes | Use for items identified as being 'trims', 'cut(s)', or 'outtake(s)' of a particular show. |
|
| Pilot | Use for television. Treat this as a supplied episode title to a titled program (i.e., as an exception to the above rule). |
|
| pilot-premiere | USE Pilot. | - |
| pilot-presentation | USE Pilot. | - |
| premiere | USE Pilot, if the program is a pilot; if it is not, do not use 'premiere' in the title; just make a 500 note. | - |
| presentation reel or tape | USE promotional film(s) or video(s) | - |
| promo | USE radio promo('s), television promo('s), promotional film, trailer(s), trailer(s)--radio, or trailer(s)--TV | - |
| promotional film(s) | Use for 1) an advertisement or convention film about a particular film, program, serial, etc., or 2) a compilation of scenes from a film or program, used to sell the idea of making the film or program to potential backers, or prepared for exhibitors, industry people, etc., rather than audiences. Use this for a film prepared to promote another film, program, serial, etc. that is too long to be considered a trailer or promo, e.g. a featurette or behind-the-scenes film or profile of the actor(s) or director. | - |
| promotional video(s) | Use for 1) an advertisement or convention video about a particular film, program, serial, etc., or 2) a compilation of scenes from a film or program, used to sell the idea of making the film or program to potential backers, or prepared for exhibitors, industry people, etc., rather than audiences. Use this for a video prepared to promote another film, program, serial, etc. that is too long to be considered a promo. |
|
| promotional video for DVD release | - | [Thelma & Louise--promotional video for DVD release]. |
| public service announcement(s) | Use only for public service announcements clearly designed to be aired during a particular program. | [The adventures of Ozzie and Harriet--public service announcement. Highway safety no. 2--replacement plug]. |
| publicity | Use for publicity materials for a particular film, program, serial, etc. other than radio promo('s), television promo('s), promotional film, trailer(s), trailer(s)-- radio, or trailer(s)--TV | - |
| radio promo('s) | Use for an advertisement for a particular radio program broadcast on the radio or on television. |
|
| rehearsal | Use for rehearsals of radio or television programs. |
|
| rushes | Use for items identified as being 'rushes' or 'dailies' for a particular film. |
|
| sales presentation | USE promotional film(s) or video(s) | - |
| Sampler. Special features for DVD | - | - |
| sound effects | Use for sound effects connected with a particular program. | - |
| sponsor's reel or tape | USE promotional film(s) or video(s) | - |
| television promo('s) | Use for an advertisement for a particular television program or TV movie broadcast on radio or television; includes ads for compilations of films released on video. |
|
| test(s) | Use for items identified as being screentests, wardrobe tests, prop tests, etc., for a particular film or program. |
|
| theater announcement(s) | Use for an item identified as being a theater announcement concerning a particular film or program. |
|
| theatrical promo(s) | Use for an advertisement for a particular television or radio program to be screened in theaters. | - |
| trailer(s) | Use for an advertisement for a particular film when the ad is intended for screening. |
|
| trailer(s)--radio | Use for an advertisement for a particular film when the ad is intended for radio broadcast. |
|
| trailer(s)--TV | Use for an advertisement for a particular film when the ad is intended for television broadcast. |
|
| unedited footage | Use for unedited footage shot for a particular film or program. |
|
| unedited newsfilm | Use for unedited footage shot for a news program; can include outtakes. | - |
| unedited sound track | Use for unedited sound track recorded for a particular film or program. | - |
5.2, SUPPLIED TITLES (AMIM 1F2 and AACR2 1.1B7 and 7.1B2):
Instead of the specific rules in AMIM, use the following local rules in constructing supplied titles.
Remember: If there is a title on the item, never supply one.
'(s)' indicates whether the singular or plural form may be used. If '(s)' or its equivalent is not present, use only the form given.
There are five rules in rough priority number; that is, in general, use the first rule which applies.
Filing indicators (MARC 21)
Note that when a title in brackets or beginning with punctuation also begins with an article, extra space(s) for the bracket or other punctuation have to be counted in the filing indicator; this includes diacritics associated with the article, any blank space, an alif, an ayn, or any mark of punctuation preceding the first filing indicator. Do not count a diacritic associated with the first filing character. See:
Change in Practice for Counting Non-Filing Characters in MARC 21.
EXAMPLES:
5.2.1. Untitled materials in particular form categories
If untitled materials fall into one of the following form categories,
supply a title consisting of the term for the form category, exactly as
listed below. If a number of materials, all falling into one of the categories
below, are being stored in a single box or container with a single inventory
number, use this rule to supply a title. If a series of such boxes is numbered,
add a period to the supplied title, and then, e.g. 'Box no. ___'. Use 'no.',
not '#' or 'number', etc.
Hearst material:
When cataloging a single segment of untitled newsreel footage, these rules should take precedence over the instructions in SECTION 36. Begin the 245 field with the terms prescribed by the supplied title rules, including only those initial terms which are required for logical filing; follow those terms with a period, space, and the Hearst index card-based title, when that title provides additional terms for keyword title searching. Falling into this category are:
If there is further description available, add a period and then further description.
| FORM TERM | USE | EXAMPLES |
|---|---|---|
| Announcements | Use for network and local television and radio station announcements. |
|
| Bloopers | AKA blow-ups, gag reels. Use for unintentional mistakes made by cast and crew; for intentional spoofs made by cast and crew, use 'Gag reels.' |
|
| Commercials | When possible, add (after a period) the name of the product, the kind of product (if not clear from its name), and the name of the company (if not clear from the name of the product, and if known), in that order. Then add the following information, if available: a title (e.g. 'If you had a million); the year it was broadcast or released; actors, actresses or other prominent people who appear; whether the commercial is animated or is a singing commercial (i.e. includes a jingle); whether the item cataloged is a demo reel or part of a demo reel (a sample of the commercials made by a particular agency, for example). |
|
| Debates | Use only for a formal debate between two people; do not use for, e.g. 'U.N. Cypress debates'. |
|
| Demo tape(s) | USE Promotional video(s) for demo tape(s) that are used as part of the sales process. Do use Demo tape(s) for demonstrations of video processes that are not part of the sales process. | -- |
| Demo reel(s) | USE Promotional film(s) for demo reel(s) that are used as part of the sales process. Do use Demo reel(s) for demonstrations of film processes that are not part of the sales process. |
|
| Electronic press kit(s) | - |
|
| Fights | - |
|
| Gag reels | AKA blow-ups, bloopers. Use for intentional spoofs made by cast and crew; for unintentional mistakes made by cast and crew, use 'Bloopers.' |
|
| Home movies | Do not use merely for footage shot by an amateur; amateur-shot factual footage should be treated as 'unedited footage' (see Section 5.2.3, Unedited footage below). 'Home movies' should be used only for film recording personal or family events, usually filmed or recorded by an amateur (AMIM glossary). |
|
| Infomercial | Use for a commercial presentation that combines advertising with information, and is very similar in appearance to a news program, talk show, or other non-advertising program content. Generally is much longer than a a commercial. Common on cable networks. When possible, add (after a period) the name of the product, the kind of product, or the name of the company, in that order of preference. |
|
| Intermission music | - |
|
| Interview | - |
|
| Music cuts | Use only when not connected to a particular program (see Section 5.1.2, Explanations added to title proper above). |
|
| Music videos | Use for video shorts, such as those shown on MTV, designed to exhibit the work of rock groups. |
|
| Political program | - |
|
| Political spots | - |
|
| Press conference | - |
|
| Promo's | Use for either groups of promo's or for one broadcast promo that promotes the network, not a particular program; for individual promo's connected to particular programs, see Section 5.1.2, Explanations added to title proper above. See also Promotional film(s), Promotional video(s) |
|
| Promotional film(s) | Use for advertisements and convention films prepared for exhibitors, industry people, etc. rather than audiences. |
|
| Promotional video(s) | - | - |
| Public service announcements | - |
|
| Sound effects | - | - |
| Speech(es) | - |
|
| Tests | - |
|
| Theater advertising | - |
|
| Theater announcements | - |
|
| Trailers | Use only for groups of trailers, or for an unidentified trailer. For trailers connected to a particular film, see Section 5.1.2, Explanations added to title proper above. Do not confuse with Public service announcements, Theater advertising, Theater announcements, Political spots, etc.: use 'Trailers' only for advertisements for particular films. |
|
5.2.2. Unidentified materials:
5.2.2.1. Unidentified materials released or broadcast with a title
If an item probably was released or broadcast with a title, but the title is missing, supply a title beginning with 'Unidentified'. If it is known that an item falls into one of the form categories below, add one of the following terms exactly as listed below:
If there is further description available, add a period, and then further description (see examples below). Do not use release dates or physical format terms, (e.g., 'anamorphic color reel' or 'composite print') in the supplied title.
EXAMPLES:
5.2.2.2. Unidentified episode of a known series, serial or newsreel
If an item is an unidentified episode of a known series, serial or newsreel, use a partially supplied title consisting of the title of the series, serial or newsreel, and, in brackets, the term 'unidentified issue' or 'unidentified episode'. If the title(s) of the episode or of the issue or its segments are available, give it/them next, unless extensive, in which case use a contents note. If the subject(s) of a newsreel are known, specify or summarize these in brackets next. If the item is known not to be a complete newsreel issue, add 'excerpt(s)' in brackets. For television and radio programs, if a broadcast date is known, and if episode titles were not used for a series, do not consider the item to be unidentified. However, if only a partial broadcast date is known, or if the item is lacking the identifier used on other episodes or issues, do describe it as unidentified; after the phrase using the term 'unidentified,' add whatever is known that identifies the episode or issue.
EXAMPLES:
Television program with other issues identified by broadcast date:
5.2.2.3., Completely unidentified materials
If we know nothing at all about an item, supply the title [Unidentified]. Add a collection name after a period, if known or applicable.
5.2.3. Unedited footage unconnected with a particular film or program,
stock shots, untitled film or tape used as a recording medium:
Hearst material:
When cataloging a single segment of untitled newsreel footage, these rules should take precedence over the instructions in SECTION 36. Begin the 245 field with the terms prescribed by the supplied title rules, including only those initial terms which are required for logical filing; follow those terms with a period, space, and the Hearst index card-based title, when that title provides additional terms for keyword title searching. Falling into this category are:
Supply a title which summarizes the subject of the film or recording, giving any of the following elements which are known and are pertinent, in the following order:
(NOTE: When we have many items recording the same event, attempt to formulate supplied titles for all materials on one event in a consistent manner. See for example 'Academy Awards' and 'World Series' in the examples below.)
EXAMPLES:
5.2.4. Compilation of more than three works on a single item with no
collective title
(See also SECTION 3.4.2, ARCHIVE ANALYSIS
POLICY--METHOD B; SECTION 3.4.3, METHOD C;
SECTION 3.4.6, METHOD F; AND SECTION
3.4.7, METHOD G)
If all the works exhibit the work of a single person, supply a title beginning with that person's name. If all the works are in a single form, supply a title consisting of that form; use the terms in rule 5.2.2.1 above.
EXAMPLES:
5.2.5. Special rule for materials in containers:
If a number of different titles are being stored in a single container, and the items do not fall into a single form category in rule 5.2.1, UNTITLED MATERIALS IN PARTICULAR FORM CATEGORIES, assign a title on the inventory record which begins with the term 'Miscellaneous', and then further characterize the contents of the container as far as this can be summarized. Whenever possible, the contents of the container should be listed in a contents note.
If a series of numbered containers is being used, add a period to the supplied title, and then, e.g. "Container no.___". Use 'no.', not '#', or 'number', etc.
EXAMPLES:
5.3, STATEMENT OF RESPONSIBILITY (AACR2 1.1F, 7.1F; AMIM 1G):
Follow AMIM in giving the production company first when known, and when a production company has been involved, then any other corporate body (e.g. sponsor). Otherwise, transcribe the statements of responsibility and function statements in the order in which they appear on the item cataloged, and as they appear (following AACR2 rules for transcription). Supply function statements in brackets only when the function is known and no function is given on the title frames or end titles. If major credits are missing, do not supply them here in brackets; instead, note (and trace) them, together with an indication of the source of your information. Include the following personal credits in the statement of responsibility: directors (but not assistant directors), producers (including associate or executive but not assistant producers), and writers. For predominantly animated films, include animators. For musical works ONLY (e.g. filmed operas), transcribe credits for composers, librettists and any others with responsibility for the overall musical work here.
In 2009, all of our records were batchloaded into OCLC. In order to ensure that multiple different expressions of the same work were not collapsed into a single record in the batchloading process, we had to move all of our version data from the previously used 562 note to a bracketed 250 edition field.
The 250 field is a transcribed field, so any information supplied by the cataloger should appear in square brackets. When transcribing, follow AACR2 in abbreviating the word 'edition' as 'ed.' Use the 250 field only for notes which identify the version being cataloged. (250 notes will be displayed on all short displays on Voyager.) Use a 500 field for edition and history notes pertaining to related works (e.g., a novel on which a film is based), reason for choice of uniform title, etc. Include in the 250 field any language note which identifies the version represented by the record. [NOTE: In ORION1, the 562 field, now converted to the 250 field, was used for notes to link two records which actually represent one particular version, but had to be split because holdings or contents notes were too long; correct these as they are encountered in Voyager.]
EXAMPLES:
5.4, COUNTRY OF PRODUCTION (AMIM 3):
Follow this rule for adding the country of production to the record, but follow the option of adding it only when it is a non-U.S. country. Prior to 2001, we followed the option in AMIM, 1984, of abbreviating country names. In 2001, with the advent of the 2nd ed. of AMIM, this option was no longer available, and we began using the full forms of country names. Prior to 2001, we followed AMIM, 1984, in using U.K. for British films. In 2001, with the advent of the 2nd ed. of AMIM, we followed AMIM in using Great Britain instead. Note, however, that records have not been retrospectively converted.
5.5, DISTRIBUTION, RELEASE, BROADCAST (AMIM 4):
Note that following AMIM 4C, we do not treat the country of distribution, release or broadcast as a transcribed subfield. We do, however, treat the name of distributor, releaser, broadcaster, and the date of distribution, release, broadcast as transcribed subfields.
When dealing with a new version of a film (see SECTION 3.2, OBJECT OF A RECORD), the first distribution information in this area will refer to the original release version, and the second will refer to the version which is the "object of the description." See AMIM 4G; do not follow AMIM 4F; do not follow AMIM 4H.
EXAMPLES (rereleases):
If broadcast materials have been broadcast by both a national and a local broadcasting agency, give both agencies in this area.
EXAMPLE (RADIO):
For inventory records, use a rerelease or reissue date, if known. Note the original release date in either the 562 field, or a 500 field, and code the bib. 008 as:
5.5.1, DATES OF DISTRIBUTION, RELEASE, BROADCAST (AMIM 4E):
Choose as the primary date of distribution or release the date a film was first shown to the public; use this instead of the distributor's release date if they are different.
Follow AMIM in recording for television the month and day of broadcast, as well as the year; do this for radio, as well. Follow the option in AMIM 4E1 for newsreel distribution dates.
Do not follow the option in 4E2 of giving the time of broadcast in parentheses after the date. There are too many complexities involved in broadcast across time zones for this to be reliable or useful information.
If a show was pre-empted, use the planned broadcast date here, but note the fact that it was pre-empted (unless it was broadcast later, in which case, use the actual later broadcast date).
Transcribe series in 490 fields and trace them in 830 fields.
Follow AACR2R C.3B1 and change numbers expressed as words into arabic numerals.
Note that the 490 field cannot use $n and $p coding, but the 830 field can.
EXAMPLES:
Use the following input order for notes:
| NOTE DESCRIPTION | MARC |
|---|---|
| Language or Edition and history when in 562 (see below, and also see Section 5.7.12, 562 field (version note)) | (562) |
| Nature or form (A2 7.7B1) | (500) |
| Language (A2 7.7B2; AMIM 7B2; DACS 4.5) (But see also 562 note above) | (546) |
| Biographical or historical data (DACS 2.7; OHCM 2.7B1) | (545) |
| Edition and history (A2 7.7B7; AMIM 7B11) (But see also 562 note above) | (500) |
| Source of title proper (A2 7.7B3; AMIM 7B3) | (500) |
| Variations in title (A2 7.7B4; AMIM 7B4) | (500) |
| Parallel title and other title information (A2 7.7B5) | (500) |
| Interview details(OHCM 2.7B1) | (500) |
| Cast (A2 7.7B6; AMIM 7B6) | (511) |
| Credits (A2 7.7B6; AMIM 7B5) | (508) |
| Statements of responsibility, trade names (A2 7.7B6; AMIM 7B7, 7B9) | (500) |
| Country of production (AMIM 7B12) | (500) |
| Distribution, release, broadcast, etc. (A2 7.7B9; AMIM 7B11) | (500) |
| Date/time and place of an event note (MFBD) | (518) |
| Physical description [notes on physical description of work as originally released] (A2 7.7B10; AMIM 7B13, 7B15, 7B16, 7B17, 7B18) | (500) |
| Accompanying materials (A2 7.7B11; AMIM 7B21) | (500) |
| Series (A2 7.7B12; AMIM 7B22) | (500) |
| Dissertations (A2 7.7B13; AMIM 7B23) | (502) |
| Citation note (AMIM 7B25; OHCM 2.7B13) | (510) |
| Summary (A2 7.7B17; AMIM 7B27; DACS 3.1; OHCM 2.7B3) | (520) |
| Contents (A2 7.7B18; AMIM 7B28) | (505) |
| Commercials and public service announcements (AMIM 7B8) | (505) |
| Restrictions on access note (DACS 4.1; OHCM 2.7B10) | (506) |
| System details note (A2 9.7B8; DACS 4.3) | (538) |
| Terms governing use and reproduction note (DACS 4.4; OHCM 2.7B11) | (540) |
| Cumulative index/finding aids note (DACS 4.6; OHCM 2.7B12) | (555) |
| Ownership and custodial history (DACS 5.1; OHCM 2.7B8) | (561) |
| Immediate source of acquisition note (DACS 5.2; OHCM 2.7B9) | (541) |
| Action note (DACS 5.3) | (583) |
| Accumulation and frequency of use note (DACS 5.4) | (584) |
| Location of originals/duplicates note (DACS 6.1; OHCM 2.7B6) | (535) |
| Additional physical form available note (A2 7.7B16; DACS 6.2; OHCM 2.7B5; OHCM 2.7B7) | (530) |
| Location of other archival materials note (DACS 6.3) | (544) |
| Publications about described materials note (DACS 6.4; OHCM 2.7B15) | (581) |
| Preferred citation of described materials note (DACS 7.1; OHCM 2.7B14) | (524) |
| Censorship (AMIM 7B32) | (500) |
| Numbers borne by the item (A2 7.7B19; AMIM 7B29) | (500) |
| Copyright registration information (AMIM 7B10) | (500) |
| Rights note (DACS 4.4) | (540) |
| Awards (AMIM 7B33) | (500) |
| Intended audience and rating designations (AMIM 7B24) | (500) |
| With notes (A2 7.7B21; AMIM 7B31) | (501) |
| Local note; not suppressed on public display (former 542) | (590) |
| Program notes (local) | (590) |
| Preservation history notes (local) | (590) |
| Linking entry complexity note (MFBD; OHCM 2.7B4) | (580) |
| Host item entry (In note) (MFBD) | (773) |
| Electronic location and access (MFBD; DACS 4.6) | (856) |
| Geographic coverage note (in display specs in case ever needed) | (522) |
| Entity and attribute information note (in display specs in case ever needed) | (552) |
| Case file characteristics note (in display specs in case ever needed) | (565) |
| Methodology note (in display specs in case ever needed) | (567) |
| Issuing body note (in display specs in case ever needed) | (550) |
| Funding information note (in display specs in case ever needed) | (536) |
| Former title complexity note (in display specs in case ever needed) | (547) |
| Awards note (DO NOT USE; in display specs in case ever needed) | (586) |
| Scale note for graphic material (in display specs in case ever needed) | (507) |
| Numbering peculiarities note (in display specs in case ever needed) | (515) |
| Type of computer file or data note (in display specs in case ever needed) | (516) |
| Exhibitions note (in display specs in case ever needed) | (585) |
| Supplement note (in display specs in case ever needed) | (525) |
| Information about documentation note (in display specs in case ever needed) | (556) |
| Target audience note (DO NOT USE; in display specs in case ever needed) | (521) |
| Bibliography, etc. note (in display specs in case ever needed) | (504) |
| Reproduction note (in display specs in case ever needed) | (533) |
| Original version note (in display specs in case ever needed) | (534) |
| Local note; suppressed on public display | (939) |
| Cataloger inputter note; not suppressed on public display | (910) |
NOTE: These are listed in tag number order, not in the order in which they should be input into the cataloging record. For the latter, consult the table in SECTION 5.6, NOTES SUMMARY. For collection level record notes in detail, consult the table in SECTION 34A.5.16, NOTES.
| NOTE | MARC 21 | DESCRIPTION | EXAMPLES |
|---|---|---|---|
5.7.1, GENERAL NOTE:
|
(500) | - | When writing two notes on the same topic, e.g. statement of responsibility, combine them into a single note. |
5.7.1.1, NATURE OR FORM NOTE:
|
(500) | In general, follow the forms used in the genre list, but feel free to use an unused narrower term, or a more concise description of the nature or form. 'Do not use at UCLA' terms may be used in this note (but not traced). |
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5.7.1.2, EDITION AND HISTORY:
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(500) | - |
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5.7.1.3, SOURCE OF TITLE PROPER
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(500) | - |
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5.7.1.4, VARIATIONS IN TITLE:
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(500) | [NOTE: Do this only when you have reason to believe this is an alternate title, not just a can, leader, reel band, etc. mistakenly labelled on the item we happen to hold here at UCLA.) |
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| - | - | If a translation of the title has been provided, but there is no evidence the film was ever actually released under the translated title, note the translated title here (and make a 246 3 _ added entry for it): |
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| - | - | Explain here any superseding of the 245 title with a uniform title (130) that is more than a filing title, i.e. significantly different from the title in the 245. |
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| - | - | If the film has an original release title in the country of origin that is not in roman script, make a 500 field in roman characters with a parallel 880 field in English and nonroman script. |
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5.7.1.5, CITATIONS::
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(500) | In citing reference sources for supplied credits, release dates,
etc., follow AACR2 citing practices (1.7A3--References; LCRI 1.7A4).
When citing a particular issue of a serial publication, a particular
volume of a multi-volume work, or a particular edition of a work,
cite one of the following (listed in order of preference):
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5.7.1.6, STATEMENTS OF RESPONSIBILITY:
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(500) | Record here names which would have gone into the statements of responsibility, had they appeared on the piece. Also record here notes pertaining to the source of supplied credits and cast notes. |
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5.7.1.7, COUNTRY OF PRODUCTION:
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(500) | - |
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5.7.1.8, PUBLICATION, DISTRIBUTION, ETC.:
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(500) | - |
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5.7.1.9, PHYSICAL DESCRIPTION:
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(500) | Include here only notes on the physical description of the work as originally released. Copy-specific physical description notes should be placed in the local holdings fields (866 $z ADDITIONAL PHYSICAL DESCRIPTION: note or 852 $q note). |
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5.7.1.10, ACCOMPANYING MATERIAL:
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(500) | When it is known that script(s), poster(s), still(s), etc. for the work are available at the Theater Arts Library (or other libraries) at UCLA, note the fact here. | - |
5.7.1.11, SERIES:
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(500) | - |
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5.7.1.12, CENSORSHIP:
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(500) | - |
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5.7.1.13, NUMBERS BORNE BY THE ITEM:
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(500) | - |
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5.7.1.14, COPYRIGHT REGISTRATION INFORMATION:
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(500) | - |
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5.7.1.16, AWARDS:
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(500) | Do not use the 586 field, since we have no need to index or display this field differently than any other note field. |
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5.7.1.17, INTENDED AUDIENCE AND RATING DESIGNATIONS:
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(500) | Do not use the 521 field, since we have no need to index or display this field differently than any other note field. |
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5.7.2, WITH NOTES:
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(501) | Use a bibliographic 'with' note only if it is known that the two
or more separately cataloged items were issued together. If the items
were spliced together later, e.g. by a former owner or by us, put
the 'with' note in the local holdings fields (866 $z NOTES: note).
Do not use the 501 field to indicate the presence of a trailer or trailers for another film or films at the head or tail of the film cataloged. Instead, note this in the 866 field and make 730 analytic ' added entries for the trailer or trailers. |
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5.7.3, DISSERTATIONS:
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(502) | - |
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5.7.4, BIBLIOGRAPHY, ETC., NOTE:
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(504) | DO NOT USE. | - |
5.7.5, CONTENTS NOTES:
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(505) | See Section 3.5, Sources of information
(above) for instructions on transcribing contents notes.
When trying to decide whether to put information in a 505 note, vs. a 520 note, choose the 505 note when the information is:
Put shot descriptions into the 505 field. Bracket anything listed in a 505 field that is not being transcribed from the item cataloged except for shot descriptions that are preceded with the term 'Shots:' Also put intertitles into the 505 field. See Section 3.5, Sources of information (above) for instructions on transcribing intertitles notes. When transcribing intertitles from a newsreel here, precede the note with 'Intertitles:', and set the first indicator to blank. When 505 fields that have been continued using subsequent 505 fields are encountered, edit them back into one 505 note. See SECTION 2.2.2, SPLIT FIELDS. |
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| 5.7.5.1, COMMERCIALS AND PUBLIC SERVICE ANNOUNCEMENTS: | (505) |
When commercials or public service announcements are described in this field, set both indicators to blanks, and begin the field with 'Commercials:' (or some other appropriate caption). Commercials may be transcribed from voice-over in the 505 field without brackets. No longer include here the information that commercials have been replaced by slugs; instead place this information in a condition note in the holdings record (see SECTION 22.1, CONDITION NOTES TO GO IN $Q SUBFIELD: When 505 fields that have been continued using subsequent 505 fields are encountered, edit them back into one 505 note. See SECTION 2.2.2, SPLIT FIELDS. |
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5.7.6, RESTRICTIONS ON ACCESS NOTE:
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(506) | Collection level records only. | - |
5.7.7, SCALE NOTE FOR GRAPHIC MATERIAL:
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(507) | DO NOT USE. | - |
5.7.8, CREATION CREDITS NOTE (CREDITS NOTE):
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(508) |
See Section 3.5, Sources of information (above) for instructions on transcribing credits. Do not follow AACR2, LCRI 7.7B6; instead, attempt to transcribe all production credits. When the credits are unreasonably long (usually on modern films), however, they can be abridged to leave out extremely minor credits for functions that are unlikely ever to be studied, such as credits for the dentist to the star, the caterer, the groundskeeper, etc. For non-musical works, musicians, conductors and other musical performers go here. When 508 fields that have been continued using 500 fields are encountered, edit them back into one 508 note. See SECTION 2.2.2, SPLIT FIELDS. |
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5.7.9, CITATION NOTE:
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(510) | If reviews are consulted in the course of doing research on the film being cataloged, cite these here. Do not attempt to create an exhaustive list of all reviews in existence. |
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5.7.10, PARTICIPANT OR PERFORMER NOTE:
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(511) |
See Section 3.5, Sources of information (above) for instructions on transcribing cast credits. Try to ensure that the credits will always be preceded by an introductory phrase and a colon, e.g. 'Cast:', whether as the result of a computer-produced display constant, or as the result of a transcribed phrase. Put any performers, narrators, moderators, reporters, interviewers, voices of animated characters, etc., whether on-screen or off-screen, in a single 511 field together with cast, if applicable. Include animals here. For musical works ONLY (e.g. filmed operas) follow music cataloging practice in putting musicians, conductors and other musical performers here. When 511 fields that have been continued using subsequent 511 fields are encountered, edit them back into one 511 note. See SECTION 2.2.2, SPLIT FIELDS. |
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5.7.11, NUMBERING PECULIARITIES NOTE:
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(515) | DO NOT USE. | - |
5.7.12, TYPE OF COMPUTER FILE OR DATA NOTE:
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(516) | DO NOT USE. | - |
| 5.7.13, DATE/TIME AND PLACE OF AN EVENT NOTE: | (518) |
When the major shooting locations are known, place them in the 518 field. If the note is transcribed from the item cataloged, enclose it in quotes. Otherwise, begin the note 'Filmed on location ... '.. Since we can place the broadcast date of a television show in the 260 field, we would not follow library practice of putting the broadcast date of a television show in the 518 field. |
EXAMPLES:
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5.7.14, SUMMARY, ETC. (INCLUDES INTERTITLES):
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(520) | Catalogers: Always (when possible) add summaries to animation, shorts, television
programs, nonfiction films and obscure films.
When trying to decide whether to put information in a 520 note, vs. a 505 note, choose the 520 note when the information is:
When copying a summary from a reference source, put quotation marks around the summary, and cite the source after two dashes at the end of the summary. When 520 fields that have been continued using subsequent 520 fields are encountered, edit them back into one 520 note. See SECTION 2.2.2, SPLIT FIELDS. |
EXAMPLE: 520 _ _ $a "A former Civil War photographer comes to town, but Michaela discovers he is losing his sight due to a severe case of diabetes"--Ultimate TV show list, as viewed on Sept. 11, 1996. |
5.7.15, OTHER RATING DESIGNATIONS:
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(521) | DO NOT USE. Use 500 notes. | - |
5.7.16, GEOGRAPHIC COVERAGE NOTE:
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(522) | DO NOT USE. | - |
5.7.17, PREFERRED CITATION OF DESCRIBED MATERIALS NOTE:
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(524) | Collection level records only. | - |
5.7.18, SUPPLEMENT NOTE:
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(525) | DO NOT USE. | - |
5.7.19, ADDITIONAL PHYSICAL FORM AVAILABLE NOTE:
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(530) | Collection level and oral history records only. | - |
5.7.20, REPRODUCTION NOTE:
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(533) | DO NOT USE. | - |
5.7.21, ORIGINAL VERSION NOTE:
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(534) | DO NOT USE. | - |
5.7.22, LOCATION OF ORIGINALS/DUPLICATES NOTE:
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(535) | Collection level records only. | - |
5.7.23, FUNDING INFORMATION NOTE:
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(536) | DO NOT USE. | - |
5.7.24, SYSTEM DETAILS NOTE:
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(538) | Use only for collection level records, for DVD-ROMs, DVDs with DVD-ROM components, and streaming and downloadable video. Do not make 538 notes for Warner Collection DVDs that do not play on DVD players that also record. |
EXAMPLE: |
5.7.25, TERMS GOVERNING USE AND REPRODUCTION NOTE:
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(540) | - |
EXAMPLE:
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5.7.26, IMMEDIATE SOURCE OF ACQUISITION NOTE:
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(541) | Collection level and oral history item level bibliographic records only; provenance information should never be placed in any other item level records. | - |
5.7.27, LOCATION OF OTHER ARCHIVAL MATERIALS NOTE:
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(544) | Collection level records only. | - |
5.7.28, BIOGRAPHICAL OR HISTORICAL DATA:
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(545) | Collection level and oral history records only. | - |
5.7.29, LANGUAGE NOTE:
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(546) | Use this note rarely. Prefer the 562 note any time language identifies version. | - |
5.7.30, FORMER TITLE COMPLEXITY NOTE:
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(547) | DO NOT USE. | - |
5.7.31, ISSUING BODY NOTE:
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(550) | DO NOT USE. | - |
5.7.32, ENTITY AND ATTRIBUTE INFORMATION NOTE:
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(552) | DO NOT USE. | - |
5.7.33, CUMULATIVE INDEX/FINDING AIDS NOTE:
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(555) | Collection level and oral history records only. | Use only first indicator 8 in our records.
EXAMPLES:
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5.7.34, INFORMATION ABOUT DOCUMENTATION NOTE:
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(556) | DO NOT USE. | - |
5.7.35, OWNERSHIP AND CUSTODIAL HISTORY:
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(561) | Collection level and oral history bibliographic records only; provenance information should never be placed in item level records. | - |
| 5.7.36, VERSION NOTE (562):
Obsolete as of 2009 when data was transferred to 250 field. | |||
5.7.37, CASE FILE CHARACTERISTICS NOTE:
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(565) | DO NOT USE. | - |
5.7.38, METHODOLOGY NOTE:
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(567) | DO NOT USE. | - |
5.7.39, LINKING ENTRY COMPLEXITY NOTE:
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(580) | - | - |
5.7.40, PUBLICATIONS ABOUT DESCRIBED MATERIALS NOTE:
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(581) | Collection level records only. | - |
5.7.41, ACTION NOTE:
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(583) | DO NOT USE. | - |
5.7.42, ACCUMULATION AND FREQUENCY OF USE NOTE:
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(584) | Collection level records only. | - |
5.7.43, EXHIBITIONS NOTE:
|
(585) | DO NOT USE. | - |
5.7.44, AWARDS:
|
(586) | DO NOT USE. Use 500 notes. | - |
5.7.45, LOCAL NOTE, NOT SUPPRESSED ON PUBLIC
DISPLAY:
|
(590) | - | - |
5.7.46, PROGRAM NOTES:
|
(590) |
Do not include copy specific information (e.g. physical description), or credits. When 590 program notes that have been continued using subsequent 590 fields are encountered, edit them back into one 590 note. See SECTION 2.2.2, SPLIT FIELDS. |
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5.7.47, PRESERVATION HISTORY NOTES:
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(590) |
Include here detailed notes on aspects of preservation and restoration of the work which might be of interest to film scholars. Copy-to-protect titles should be identified here as UCLA preservation, per email from Eddie Richmond dated September 8, 2010. See also the copy specific preservation note in the 866 field (866 $z PRESERVATION: note). When 590 preservation notes that have been continued using subsequent 590 fields are encountered, edit them back into one 590 note. See SPLIT FIELDS. |
EXAMPLE:
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5.7.48, HOST ITEM ENTRY:
|
(773) | - | - |
5.7.49, ELECTRONIC LOCATION AND ACCESS:
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(856) | - | - |
5.7.50, LOCAL NOTE, SUPPRESSED FROM PUBLIC DISPLAY:
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(939) | Seen only in Cataloging Client; not distributed. | Do not use this to record information about rights holders, as this information is subject to change, per email from Eddie Richmond, dated November 18, 2010; if kept at all, such information should be put into the Processing Database. |
Last modified: February 16, 2012, my