UCLA Film & Television Archive Cataloging Procedure Manual--Voyager
Bringing a collection into an archive consists of multiple workflows. Appraisal is the process of evaluating the material and determining whether some or all of it will be added to the repository’s holdings. Accessioning is the process of establishing the initial physical and intellectual control, most commonly by creating or assembling documentation of its acquisition, transfer, and receipt. The next step, processing, consists of three primary components:
Before a collection level catalog record is created, ideally all elements essential in formulating an archival information system should be collected and documented by the archivists as the collection is accessioned into the archive. As outlined in Miller (1990), these elements include:
The process involved in establishing an archival information system is analogous to a pyramid, where an archival catalog record is one part of a more complex descriptive system. The catalog record is a summary of information contained in the finding aid that in turn contains summaries, abstracts or lists based on information found in the archival materials themselves. In sum:
Steve Hensen describes this as the hierarchy of surrogacy.
Since users do not always consult the catalog to discover collections, it is good to provide an alternative methodology that users can reference to discover an overview of an institution’s collections. Collection level cataloging serves both to provide a superficial overview for large bodies of otherwise uncataloged materials, as well as plays an important role in reducing the quantity of material returned in an initial search query. This design model is important in that users are expecting that their online catalogs become a portal or gateway for the discovery of information. Instead of searching from one stand-alone database to another, users want to search from one location and be guided to a multiplicity of information resources.
Selected Bibliography:
There are three types of collection level descriptions:
The instructions that follow cover collection level cataloging at the unitary level. For analytic catalog records, see SECTION 3.4, ARCHIVE ANALYSIS POLICY.
The UCLA Film & Television Archive creates a unitary collection level catalog record in Voyager that links to or references an inventory list of items that are described and managed in a FileMaker Pro database overseen by the motion picture and television archivists.
Collection level cataloging at the UCLA Film & Television Archive may be considered for the following situations:
In general, a collection of materials for which titles must be supplied may be considered for collection level treatment, particularly if the materials that comprise the collection cannot be adequately accommodated in a single item level record.
Poor choices for collection level treatment would include a series of 16 mm. prints of easily identifiable studio-produced motion pictures, such as those in the Mel Tormé Collection or the 16 mm. copies of studio produced films in the Turner Collection. The materials each of these collections contains are not unidentified, ephemeral in nature, nor do they share common characteristics, such as title, creator, subject or genre.
Important note: Never mix materials coming from different sources (different donor/depositor codes) into the same collection. Everything described on a particular collection level record should share the same provenance (i.e., come from the same source).
Description is based on Describing Archives: A Content Standard (DACS) and supplemented by Archival Moving Image Materials (AMIM), Appendix C for collection level catalog records. Where these standards differ, are optional, or are preceded by local practice, the procedures enumerated here take precedence.
MARC code lists used: see SECTION 1.1, STANDARDS FOLLOWED.
DACS requirements for unitary single-level collection level records:
At a minimum, collection level catalog records at the UCLA Film & Television Archive must conform to the unitary single-level.
DACS requirements for unitary single-level optimum collection level records:
All of the elements included in single-level minimum (SECTION 34A.4.1, Unitary single-level), plus:
Unitary collection level catalog records at the UCLA Film & Television Archive will generally be described as single-level added value.
DACS requirements for unitary single-level added value collection level records:
All of the elements in single-level optimum (SECTION 34A.4.2, Unitary single-level optimum), plus any other relevant elements the repository wishes to include.
(No equivalent in DACS; see SECTION 10, Leader--Bibliographic records--All format)
For collection level catalog records:
Andrea Leigh contacted Lynn Holdzkom from University of North Carolina, Chapel Hill (who teaches the MARC according to DACS workshop for SAA) and she confirmed that since DACS took on a companion standard approach and, therefore, not in conflict with AACR2, that coding the leader as AACR2 was appropriate and that it was common practice.
008 Field (see SECTION 11, General information (008 field)--Bibliographic records--Films and videorecordings)
Areas of the 008 field not noted, leave blank.
(DACS 2.1)
Provide a unique identifier for the materials being described which consists of a local identifier, repository identifier, and country identifier.
Since DACS is the primary source used for the basis for description for collection level catalog records, code the 040 field as $e dacs.
A supplied title is provided by the archivist when no formal title exists for the materials being described and generally consists of two parts:
Follow guidelines for supplied title formation as outlined in DACS 2.3, as formulation of title elements attempts to capture the relationships that exist among the items. In general, the supplied title will consist of the name of the creator(s) to which the materials are related followed by either "collection" or "collection of" and the appropriate format and/or form term(s) (see below). (Since it is typical that the nature of the archival unit will be an intentionally assembled collection, the word "collection" is used as part of the supplied title (DACS 2.3.18).)
EXAMPLES:
245 10 $a Women in Film collection.
(film materials share the same provenance as the Women in Film records held at UCLA Performing Arts Special Collections)
245 10 $a ONE National Gay & Lesbian Archives collection of film and video.
(film and video materials are held at the Archive, while paper materials remain at ONE National Gay & Lesbian Archives)
245 10 $a GLAAD trans and intersex media collection.
(subcollection of the GLAAD Media Awards Collection; GLAAD video materials are also contained as part of the ONE National Gay & Lesbian Archives of Film and Video)
245 10 $a Jim Tushinski collection of Tom Graeff films.
(independent filmmaker's collection of feature films and shorts directed or created by filmmaker Tom Graeff)
When the materials being described consist solely of one or two specific forms, supply those forms using the list of form terms as defined in SECTION 5.1.2, EXPLANATIONS ADDED TO TITLE PROPER and SECTION 5.2.1, UNTITLED MATERIALS IN PARTICULAR FORM CATEGORIES. Express those forms in the order predominance (DACS 2.3.19).
EXAMPLES:
245 10 $a The Hollywood reporter Key Art Awards collection of trailers and electronic press kits.
245 10 $a Harold Lloyd collection of home movies.
If more than two specific form types predominate, but there are also other material types present, record the one or two most predominant forms followed by the phrase "other material" (DACS 2.3.20).
EXAMPLE:
245 10 $a Jimmy Van Heusen collection of home movies, short subjects and other material.
For study collections of mass-produced videorecordings or DVDs, supply the predominant genre and format. For DVDs, use the term DVD. Supply video formats as defined in SECTION 26.2.1, VIDEO FORMAT OR OTHER VIDEO TECHNICAL SPECIFICATIONS, excluding the parentheses.
EXAMPLES:
245 14 $a The Shaw Brothers collection of Hong Kong films on DVD.
245 10 $a Eros collection of Indian cinema on DVD.
If more than one genre and/or format predominates, exclude the information. Instead, elaborate on the genres and formats represented in the scope and content note.
If the collection materials are topical in nature, formulate the title as instructed in DACS 2.3.21 and 2.3.22. Do not follow AMIM C4.1.
Instead of (AMIM C4.1):
245 10 $a [Peace rallies and marches in the 1970s].
Construct the title as:
245 10 $a Collection of peace rallies and marches, $f 1970s.
Do not follow this procedure for a collection of materials in a particular form category; instead follow procedures for supplied titles in SECTION 5.2, SUPPLIED TITLES.
Do not bracket supplied titles as instructed in AMIM C4.1, except when the supplied title is constructed according to CPM 5.2. Under this circumstance, use square brackets.
For collections associated with a single commercially released or distributed motion picture or television program, the main entry or primary access point for collection level catalog records is the title proper (DACS 2.3.2 and AMIM C4.1). If the formal title is modified through the use of a uniform title, put the uniform title in the 245 field in brackets.
EXAMPLE:
245 10 $a [Peyton Place (Television program)].
Since film and television programs are identified chiefly by title, rather than by provenance, it is preferred that elements connected with a film or program use the formal title as the basis for the description.
Construct titles according to procedures for supplied titles detailed in SECTION 5.2, SUPPLIED TITLES, including the use of square brackets:
EXAMPLE:
245 10 $a [Night of the hunter—outtakes].
Exception:
Describe a collection of production materials connected with more than one film or program based on provenance under the following circumstances:
Construct the title according to DACS 2.3.
EXAMPLE:
245 10 $a Faces Distribution Corporation collection of trims and outtakes.
Provide in the system of arrangement element (see SECTION 34A.5.9, SYSTEM OF ARRANGEMENT) the title of each of the films or programs that comprise the collection, followed by the date of distribution.
EXAMPLE:
351 __ $a Arranged in the following series: 1. A woman under the influence. 1974. 2. The killing of a Chinese bookie. 1976. 3. Opening night. 1977.
Provide as separate added entries the title of each of the films or programs appended with the appropriate form term (see SECTION 5.2, SUPPLIED TITLES ).
EXAMPLES:
Additionally, provide as subjects the title of the films or programs.
EXAMPLES:
Describing the production elements connected with a number of titles as a single collection will provide an overall context when the production elements are not individually analyzed.
Since field lengths are no longer an issue in our online catalog, do not divide collection level catalog records into parts as defined in AMIM C4.1. Instead describe the current arrangement of the material in terms of the various aggregations within it as instructed in the system of arrangement element (DACS 3.2).
Additionally, do not divide records according to AMIM C7, with the exception of production materials for the same film or program that may have been or was intended to be issued in parts consisting of different casts and production personnel. Under this exception, construct titles as outlined in SECTION 5.2, SUPPLIED TITLES.
Production materials may be further described using a statement of responsibility (see SECTION 5.3, UNEDITED FOOTAGE UNCONNECTED WITH A PARTICULAR FILM OR PROGRAM, STOCK SHOTS, UNTITLED FILM, OR TAPE USED AS A RECORDING MEDIUM). Do not bracket function statements in the statement of responsibility. Instead, place in a note how the credits were supplied.
EXAMPLE:
245 10 $a [It’s all true. Episode 1, My friend Bonito--rushes] / $c Mercury Productions for RKO Radio Pictures, Inc., with the collaboration of Cinédia Studios, Inc., Rio de Janeiro ; director and chief writer, Orson Welles ; associate producer, Richard Wilson.
500 __ $a Credits supplied from researcher’s notes.
(DACS 2.4, AMIM C4.2)
Prefer recording the date element as part of the title proper when the materials described consist of a collection of ephemeral materials such as home movies, outtakes, rushes, commercials, or a combination of material types, since the addition of the date(s) to the title proper assists in better identifying these materials.
EXAMPLE:
245 10 $a Jimmy Van Heusen collection of home movies, short subjects and other material, $f 1950s.
Enclose bulk dates in parentheses:
EXAMPLES:
245 10 $a Harold Lloyd collection of home movies, $f 1926-1950, $g (bulk 1926-1932).
245 10 $a Hearst Metrotone News collection, $f 1915-1971, $g (bulk 1929-1968).
| Inclusive | Example: $f 1926-1950 | Use the years only, the earliest to the latest |
| Bulk | Example: $g (bulk 1926-1932) | Use when the dates for the majority of the materials in the collection differ significantly from the inclusive dates; provide the inclusive dates along with the bulk dates |
| Broken date spans | Example: $f 1934, 1945-1976 | Use when there are gaps in the inclusive dates and when a bulk date would be misleading, such as one or more items recorded in a single year with the remainder of the collection recorded over a span of a number of years a decade or more later |
| Decade known | Example: $f 1950s | Use when the exact date or range of dates is not known |
| Probable date or date range | Example: $f circa | Use when the exact date or range of dates is not known |
Always attempt to estimate a date or date range for a collection of moving image materials even when the dates are not specified. Avoid the option of using the term "undated" (DACS 2.4.16).
Record dates of publication, distribution or broadcast as described in the appropriate chapters of AACR2R when the title of the unit being described is a completed film or television program or describes the elements that form part of a completed film or television program (whether intended or realized). Use the date of release or broadcast for commercially distributed films and television programs. For materials not commercially distributed, use the date the materials were created.
EXAMPLES:
(year when content was filmed)
(dates of original theatrical release)
When known, prefer to include the country of production, distribution, or release, and the distributor, releaser, or broadcaster. Follow SECTION 5.4, COUNTRY OF PRODUCTION (AMIM 3) and SECTION 5.5, DISTRIBUTION, RELEASE, BROADCAST (AMIM 4), except, do not bracket fields that were not transcribed.
EXAMPLES:
(DACS 2.5, AMIM C4.3)
Record total number of items and format type in separate lines of physical description in the bibliographic record. If readily available, describe sound, color, gauge, and print characteristics enclosed in parentheses following format type.
EXAMPLE:
Provide a general statement of extent when the exact number of items cannot be readily determined.
EXAMPLE:
For general statements of extent, more detailed descriptions may be described in the scope and content note as outlined in AMIM C4.5.3.
EXAMPLE:
Do not record study copies created by the UCLA Film & Television Archive in individual lines of extent, as they can be described in the existence and location of copies element (DACS 6.2) or described on the inventory list linked from the collection level catalog record.
(DACS 2.6; DACS Part II, Chapter 9; AMIM C6)
The structure and content of archival materials cannot be completely understood without some knowledge of the context in which they were created. There are three main steps in the process of creating documentation that establishes archival context.
Identify the individuals, families, and corporate bodies that played a significant role in the creation of the materials.
Assemble biographical information about these individuals and families or data about the history, structure, functions, and relationships of the relevant organization.
The names of these entities must be rendered in a standardized form to facilitate the retrieval of information.
Traditional archival description will present this information directly to users by incorporating the names of creators and contextual information about them directly in both the catalog records and in finding aids. The source for the name of the creator is usually the name element in the supplied title, which is traced as main entry.
EXAMPLES:
(DACS 2.7; DACS, Part II, Chapter 10; AMIM C4.5.1)
The purpose of the administrative/biographical history element is to provide information about the organization(s) or individual(s) associated in some way with the creation, assembly, accumulation, and/or maintenance and use of the collection being described in order to place the material in context and make it better understood. This element is not required when the context of the creation is unknown or cannot be made public.
This element should be assembled from reliable sources, such as the materials themselves and reference works. Types of information to be recorded in summary notes may include:
EXAMPLE:
545 __ $a Eugene (Gene) Curran Kelly (1912-1996) was born in the Highland Park district of Pittsburgh, Pennslyvania and worked professionally in motion pictures and television as a dancer, choreographer, actor, producer, and director. In 1941, he married his first wife, actress Betsy Blair (1923-). The couple divorced in 1957. Their only daughter, Kerry, was born on October 16, 1942. In 1960, Kelly married Jeanne Coyne (1923-1973). They had two children, Timothy (1962-) and Bridget (1964-). He died after a series of strokes at the Beverly Hills home he had lived in since 1946. Kelly arrived in Hollywood in 1941, where he launched his film career with the MGM musical, For me and my gal (1942). Other films include Du Barry was a lady (1943), Thousands cheer (1943), Cover girl (1944), and Anchors aweigh (1945). At the end of 1944, he enlisted in the United States Naval Air Service and was stationed at the U.S. Naval Photographic Center, starring in several Navy films while on active duty there. After completing his service, he was given the rank of lieutenant, junior grade. Kelly was discharged from the Navy in 1946 and returned to Hollywood, where he initially found little work. MGM eventually cast Kelly opposite Judy Garland in The pirate (1948), which led to Kelly's increased interest in directing his own films. This would come in the form of the unconventional musical, On the town (1950), which Kelly co-directed with Stanley Donen. The collaboration triggered a successful two years with An American in Paris (1951), which won the Best Picture Oscar and Singin' in the Rain (1952), considered the most popular movie musical of all time. Kelly's last productions, including Brigadoon (1954) and the ambitious It's always fair weather (1955), failed to appeal to either critics or the public. The latter film also brought a bitter end to his partnership with Stanley Donen. Professional and personal conflict led to the breakup, including the fact that Donen's wife, Jeanne Coyne (1923-1973), had fallen in love with Kelly. Small roles and directing jobs followed. Professional highlights included the Broadway musical Flower drum song and an original ballet he created for the Paris Opera. In the late 1950s, the television show Omnibus invited Kelly to create a documentary about the relationship between dance and athletics, Dancing: a man's game, which aired on December 21, 1958, and is considered one of the classic treasures from television's golden age. However, the hit Kelly so badly craved and needed as director of the film Hello, Dolly (1969) eluded him. Kelly was a Kennedy Center honoree in 1982, received the American Film Institute's lifetime achievement award in 1985 and the Presidential Medal of Freedom in 1994. For the remaining years of his life, he was hard at work on his autobiography, which was unfinished at the time of his death on February 2, 1996.
If the collection materials consist of more than one creator or collector, create a separate administrative/biographical history for each person or entity described.
245 14 $a The Hollywood reporter Key Art Awards of trailers and electronic press kits, $f 1982-2005, $g (bulk 1999-2005).
545 __ $a The Hollywood reporter Key Art Awards is the only awards program to recognize excellence in motion picture marketing and advertising. Since its debut in 1972, the Key Art Awards has received over 15,000 entries representing the work of some of the industry's brightest art directors, copywriters, trailer producers and editors, illustrators, photographers, website designers, studio executives and vendors. In 2002, the addition of two student categories was added: Student One-Sheet and Student Trailer.
545 __ $a The Trailer Audio Standards Association (TASA) was formed in 1997 by cinema sound engineers, exhibitors, and the major studios to develop a trailer volume standard. Subsequently, this trailer loudness standard has become the means by which the film community and audiences are assured a better sound balance by equalizing the volume difference between trailers and features, so all material can play back at the same volume setting. This maximum is adhered to by all studios and has the endorsement of the Motion Picture Association of America and the National Association of Theater Owners. In 2000, TASA was presented with an Award of Commendation by the Academy of Motion Picture Arts and Sciences as part of its annual Scientific and Technical Awards dinner.
[Hollywood reporter is the sponsoring agency and is the source of materials in conjunction with another entity, the Trailer Audio Standards Association (TASA)]
When the collection consists of production elements connected to a film or television program or consists of a number of episodes connected to a television program, divide the history note into the following sections, when applicable. The first section outlines the production history, the second section lists the cast (see SECTION 5.7.10, PARTICIPANT OR PERFORMER NOTE (511), the third section lists the production personnel (see SECTION 5.7.8, CREDITS NOTES, and the fourth section notes the major shooting locations (see SECTION 5.7.13, DATE/TIME AND PLACE OF AN EVENT NOTE (518).
EXAMPLE 1:
245 10 $a [It's all true (Motion picture). Episode 3, Jangadeiros--rushes] / $c Mercury Productions for RKO Radio Pictures, Inc., with the collaboration of Cinédia Studios, Inc., Rio de Janeiro ; director and chief writer, Orson Welles ; associate producer, Richard Wilson.
545 __ $a While flying to Rio in February 1942, Orson Welles read about the heroic voyage of four jangadeiros on a raft to Rio de Janeiro in the fall of 1941. He was intrigued both by the jangadeiros' courage and initiative and by the implications of this voyage for the future of Brazilian democracy. An admirer of Robert Flaherty, Welles also saw the opportunity to experiment with ethnographic documentary. After documenting Carnaval in February 1942, and meeting the jangadeiro leader, Manoel "Jacaré" Olimpio, in Rio, Welles traveled to Jacaré's native city of Fortaleza in the state of Ceará, Brazil to scout locations with screenwriter Robert Meltzer and cameraman Eddie Pyle. Originally intending to shoot the entire episode in Technicolor, Welles was limited by RKO to shooting only the jangadeiros' arrival in Rio de Janeiro in Technicolor, while all of the re-enacted and documentary scenes shot in the northeast (Fortaleza, Recife, Itapõa and Salvador) between mid-June and late July 1942 had to be shot in black and white using a skeleton crew. The three surviving jangadeiros starred in the episode, along with the deceased Jacaré's brother, João "Jacaré" Olimpio Meira, Jeronimo's nephew, José Sobrinho, and a young fisherman's daughter, Francisca Moreira da Silva. A love story between Sobrinho and Francisca was created to replace the planned dialogue with Jacaré and to provide the pretext for documenting scenes of daily life in the jangadeiro community. All of the essential scenes were shot and the footage sent back to Hollywood in late July where some of it was processed and printed. A rough assemblage of a small portion of the footage survives and Welles reported to the primary cinematographer, George Fanto, that he was pleased with the footage. However, its whereabouts remained unknown until a Paramount executive, Fred Chandler, located the black and white elements in a Paramount vault in 1980. According to the November 1952 RKO inventory, 15 reels or 13,978 feet of positive nitrate and corresponding black and white negative exists.
511 1_ $a Manoel "Jacaré" Olimpio (as himself); Jeronimo André de Souza (as himself); Raimundo "Tatá" Correia Lima (as himself); Manuel "Preto" Pereira da Silva (as himself); João "Jacaré" Olimpio Meira (as Jacaré at sea); Francisca Moreira da Silva (as the young bride); José Sobrinho (as the young groom); Manuel Frade (as spokesperson at the meeting); "Mae" Maria (as Sobrinho's grandmother). Additional participation by members of the Z-1 and Z-2 fishing colonies, Iracema and Mucuripe beaches, Fortaleza, Ceará.
508 __ $a Research and treatment writer, Edmar Morel; cinematographer (Fortaleza), George Fanto; cinematographer (Technicolor, Rio de Janeiro), Willian Howard Greene; assistant cameraman (Fortaleza), Reginaldo Calmon; still photographers (Fortaleza), Chico Albuquerque and Roberto Cavalieri; still photographer (Rio de Janeiro), Jean Manzon.
518 __ $a Shot on location in Rio de Janeiro, Brazil mid-March to late May 1942 and in the Northeastern region of Brazil mid-June to July 24, 1942.
EXAMPLE 2:
245 10 $a [Peyton Place (Television program)].
545 __ $a This continuing drama about a small New England town had a five-year run on the ABC Television Network from 1964-1969 and is considered the first successful primetime network serial. Paul Monash was enlisted to adapt the series for Twentieth Century-Fox Television from the best-selling novel by Grace Metalious. After viewing the series pilot, network executives were concerned over the program's plot elements, which focused on adultery, premarital sex and incest. Irna Phillips, a creator and head writer of several daytime serials, was brought in as a series consultant to tone down what was considered controversial content at the time. At the high point of the series run, over 60 million viewers saw Peyton Place three times a week. The series is also credited for establishing the careers of Mia Farrow and Ryan O'Neal. For a half-hour prime time drama, Peyton Place had one of the largest casts of its day. Over sixty regular cast members appeared during the series' 514 episodes. Viewers began to dwindle when Mia Farrow left the show in 1966 and was cancelled a year after series lead Dorothy Malone departed in 1968. The last episode aired on June 2, 1969.
511 1_ $a Dorothy Malone (Constance Mackenzie Carson, 1964-1968); Mia Farrow (Allison Mackenzie, 1964-1966); Ed Nelson (Dr. Michael Rossi); Warner Anderson (Matthew Swain, editor of The clarion, 1964-1965); Paul Langton (Leslie Harrington, 1964-1968); Ryan O'Neal (Rodney Harrington, Leslie's oldest son); Christopher Connelly (Norman Harrington, Leslie's younger son); Barbara Parkins (Betty Anderson/Harrington/Cord/Harrington); Kasey Rogers (Julie Anderson, Betty's mother); Henry Beckman (George Anderson, Betty's father, 1964-1965); Kent Smith (Dr. Robert Morton, 1964-1965); James Douglas (Steven Cord).
518 __ $a Filmed at 20th Century-Fox Studios.
Since credits for collection level catalog records will not be transcribed, note any reference sources that were consulted.
EXAMPLE:
500 __ $a Credits supplied from: The complete directory to prime time network and cable TV shows, 1946-present, 1995.
(DACS 3.1, AMIM C4.5.2, C4.5.3)
The scope and content note element is a brief summary of the subject matter, activities, functions, and documentary forms or intellectual characteristics of the materials being described and should be viewed as a good source for access points. Types of information to be recorded in summary notes may include: types and forms of materials, their arrangement, dates of subject coverage, and the most significant topics, persons, places, or events.
EXAMPLE:
245 10 $a Jack Denove collection of campaign commercials and programming for candidate John F. Kennedy’s presidential campaign, $f 1960.
520 2_ $a During the 1960 presidential campaign, filmmaker Jack Denove was asked to produce campaign commercials and programming for Democratic presidential candidate John F. Kennedy. Using hand-held 16 mm. cameras and a mobile video unit, Denove filmed or videotaped every speech and public appearance, designed commercials, and produced special fifteen and thirty-minute programs around specific themes such as urban problems, medical care of the aged, and revitalizing American prestige. This marked the first time television was used in a presidential campaign to this extent. Included in the collection is the television call-in program, Coffee with the Kennedys, which focused on the senator’s family life, the Navy log dramatization of Kennedy’s heroism during the PT-109 incident, the presidential campaign film, A time for greatness, the Nixon-Kennedy debates, and Kennedy's speech before the Greater Houston Ministerial Association, in which he addressed the issue of his Roman Catholic religious beliefs. This collection contains all the footage Jack Denove shot during the 1960 presidential campaign, beginning with the West Virginia primary and ending on the eve of the election and includes interviews, campaign appearances, political programs, political spots, press conferences, remarks, speeches, and debates. The type of footage includes completed product, negatives, trims and outs, unedited footage, stock shots, crowd shots, and airport arrivals.
In addition to creating access points for the most significant topics, persons, places, or events, create access points for individual titles that are contained as part of the collection.
EXAMPLES:
Do not follow AMIM C4.5.2 for analyzed contents notes for collection level catalog records since scope and content is not differentiated in DACS.
(DACS 3.2, AMIM C4.4)
The system of arrangement should be derived from the materials themselves and described in terms of the various aggregations within it and their relationships.
EXAMPLE 1:
245 10 $a Jeanne Crain collection of home movies and other materials, $f 1932-1976, $g (bulk 1948-1965).
351 __ $a Arranged in the following series: 1. Home movies. 2. Feature films. 3. Comedy and cartoon shorts distributed for the home market. 4. Television. 5. Audio tape reels and miscellaneous.
EXAMPLE 2:
245 10 [Peyton Place (Television program)].
351 __ $a Each 16 mm. safety print is stored in 800 foot cans. $b Chronological arrangement by episode number and broadcast date.
EXAMPLE 3:
245 10 Henry Koster collection of home movies.
351 __ $3 Compilation reel; $a Arranged in the following series: 1. European travel, circa 1934-1935. 2. Behind the scenes of Katharina, die Letze (1936) and more, circa 1936-1937; $c DVD no. 1 (61 min., 44 sec., si., b&w); $b Chronological arrangement.
(DACS 4.2)
Provide information about access restrictions due to any physical characteristics or storage locations that limit, restrict, delay, or otherwise affect access to the materials being described.
EXAMPLE:
506 __ $a APPOINTMENT REQUIRED FOR VIEWING MATERIALS ONSITE. $b Inquire at the Archive Research and Study Center for further information (email: arsc@ucla.edu).
(DACS 4.6)
The finding aids element identifies any other finding aids to the materials being described, particularly if they are available to the user, and provides information about the form and content of those finding aids.
EXAMPLE:
555 8_ $a Inventory list available. Inquire at the Archive Research and Study Center or refer to the Internet version cited in this record.
If the inventory is available electronically, provide a link from the bibliographic record.
EXAMPLES:
856 42 $3 Inventory list $u http://www.cinema.ucla.edu/collections/film.html
856 42 $u http://findaid.oac.cdlib.org/findaid/ark:/13030/kt7v19r266 $z Internet version of Finding Aid prepared by the UCLA Chicano Studies Research Center available via the World Wide Web.
Optionally, provide a note that references other descriptions, most often in published sources, when they are important for interpreting the materials described (see DACS 4.6.5).
EXAMPLE:
510 __ $3 Transcripts. $a The speeches, remarks, press conferences, and statements of Senator John F. Kennedy. Final report of the Committee on Commerce, United States Senate, 1961. $b August 1 through November 7, 1960.
(DACS 5.1, 5.2, 5.3)
Record the source(s) from which the materials being described were acquired, the date of acquisition, and the method of acquisition, if this information is available and not confidential (DACS 5.2.3).
EXAMPLES:
541 __ $c Gift; $a Hollywood Reporter, Inc., $d 2002-
541 __ $c Deposit; $a Jeanne Crain's daughter, Lisabette Brinkman; $d May, 2005.
Record the successive transfers of ownership, responsibility, or custody or control of the materials being described from the time it left the possession of the creator until its acquisition by the repository, and any dates thereof, if this information can be ascertained and if it is significant in understanding the authenticity of the materials (DACS 5.1.3).
EXAMPLE:
561 __ $3 videocassettes $a Key Art Award nominees as received from the Hollywood Reporter, Inc. and check prints acquired from THX as part of the Trailer Audio Standards Association (TASA) sound check program.
Do not follow guidelines for appraisal, destruction, and scheduling information (DACS 5.3), since preservation and trafficking activities are recorded in locally defined and maintained FileMaker Pro databases.
(DACS 5.4)
Indicate whether further accruals are expected, if this information is known and is not confidential.
EXAMPLE:
584 __ $a The repository continues to add materials to this collection on a regular basis.
(DACS 6.1, 6.2, 6.3, 6.4)
Since archival prints and pre-print are often copies, prefer not to record the existence, location, and availability of originals when the materials being described consist of copies and the originals are not held by the archive (DACS 6.1).
Additionally, prefer not providing a general note referring to the existence, location, and availability of materials (DACS 6.2) unless there is an unusual circumstance preventing users from accessing the materials not covered in the general availability note located in the holdings format.
If known, indicate the existence and location of archival materials that are closely related to the materials being described either in another UCLA information center, in other repositories, or elsewhere (DACS 6.3).
EXAMPLES:
544 0_ $n Related materials providing family photographs of Lloyd and his wife Mildred Davis with all of their children and life at Lloyd’s famous Greenacres estate comprise part of the Harold Lloyd Collection at the Margaret Herrick Library, Academy of Motion Pictures Arts & Sciences in Beverly Hills, California. The collection materials consist of 3,000 original still photograph negatives and approximately 85 scrapbooks.
544 0_ $n Personal papers, correspondence, published sheet music and manuscripts, popular LPs of Van Heusen’s and other’s songs, and reel-to-reel tapes of LPs as well as home recordings and other materials available at UCLA Music Library Special Collections as: Jimmy Van Heusen collection of musical works and papers, 1920-1991 (Collection 127).
544 __ $n Individual records pertaining to Lloyd’s feature films, shorts, outtakes, tests, and excerpts can be brought together using the Collection (SPAC) search: Harold Lloyd Collection.
Publications that are about or based on the use, study, or analysis of the materials may be noted when known (DACS 6.4), particularly if the UCLA Film & Television Archive created the publications.
EXAMPLES:
581 __ $a Selected footage from this collection forms part of the bonus features in the 2005 DVD release distributed by New Line Home Entertainment: The Harold Lloyd comedy collection.
581 __ $a The 1930s: prelude to war. 1998. 35 mm. film preservation masters and trial prints of 113,200 feet (21 hours) were created for this National Endowment for the Humanities funded project incorporating selected Hearst newsreel footage. A study guide and reference videocassettes are available for use at the Archive Research and Study Center.
(DACS 7.1.5)
Indicate the preferred style for the citation of the unit being described.
EXAMPLES:
524 __ $a The Jeanne Crain Collection at the UCLA Film & Television Archive.
524 __ $a The Hollywood Reporter Key Art Awards Collection at the UCLA Film & Television Archive.
The following table prescribes the order of notes for collection level records. Compare with SECTION 5.6, NOTES SUMMARY.
(DACS 8.1)
Record the name of the person who created or revised the description, as well as the creation or revision date (DACS 8.1.5).
EXAMPLES:
(No equivalent in DACS; see SECTION 15, Holdings fields--Leader--All formats)
(No equivalent in DACS; see SECTION 19, Holdings fields--Fixed-length data elements (008 field)--All formats)
For collection level catalog records, code the 008 field as follows (if value not listed, leave blank):
008 field
(DACS 2.1; see SECTION 22, Holdings fields--852--Location)
Record location as instructed in CPM Section 22, except instead of an inventory number, use a collection number. Collection numbers are assigned in order of record creation.
EXAMPLE:
852 _ 8 $b ftsrr $h Collection 1
(No equivalent in DACS; see SECTION 13A, 9XX fields and SECTION 25, Holdings fields--901--Archive collection codes)
When collection level catalog records contain a mix of television and motion picture materials, use both the MP and TV collection (SPAC) codes:
Use SPAC codes for collection level catalog records when individual titles and other materials from the same source have been separated and where it is desirable that these materials from the named collection can be retrieved together.
EXAMPLES:
245 10 $a Harold Lloyd collection of home movies
901 __ $a HLC $b Harold Lloyd Collection
245 14 $a The freshman / $c Harold Lloyd Corp. ; directed by Sam Taylor, Fred Newmeyer ; scenario, Sam Taylor, John Grey, Ted Wilde, Tim Wheelan.
901 __ $a HLC $b Harold Lloyd Collection
Record the donor/depositor source code and availability code (see SECTION 27, Holdings fields--905).
EXAMPLE:
905 __ $c 2067 $d 000 $f R
Always record the physical count (905 $d) as zero. Do not include footage count (905 $e).
(DACS 8.1)
Record the name of the person who created or revised the description, as well as the creation or revision date (DACS 8.1.5).
EXAMPLES:
910 __ $a Created January 14, 2005, al.
910 __ $a Created September 30, 2004, al; rev. January 2, 2004, al.
169620, Bronze Screen Productions. Bronze Screen Productions collection of interviews and other materials for the documentary film project, The bronze screen, $f 1978-2001, $g (bulk 1995-2000).
164696, Clarke, Wendy. Wendy Clarke collection of video art, $f 1972-2002, $g (bulk 1976-1993).
166807, Crain, Jeanne, $d 1925- Jeanne Crain collection of home movies and other materials, $f 1932-1976, $g (bulk 1948-1965).
173514, Creative Film Society. Creative Film Society collection.
172831, Eros International (Firm). Eros International collection of Indian cinema on DVD.
169038, Faces Distribution Corporation. Faces Distribution Corporation collection of trims and outtakes, $f 1974-1977.
173050, Friedrich, Su. Su Friedrich collection, $f 1979-2002
163810, Gay & Lesbian Alliance Against Defamation. GLAAD trans and intersex media collection $f 1984, 1992, 1999-2006, $g (bulk 2002-2006).
163810, The Hollywood reporter Key Art Awards collection of trailers and electronic press kits, $f 1982-2005, $g (bulk 1999-2005).
164913, [It's all true (Motion picture). Episode 1, My friend Bonito--rushes]
164929, [It's all true (Motion picture). Episode 2, Carnaval--rushes]
164941, [It's all true (Motion picture). Episode 3, Jangadeiros--rushes]
163852, Kelly, Gene, $d 1912-1996. Gene Kelly collection of home movies, dance excerpts, and other material, $f circa 1940-1969.
170301, Kesey, Ken. Ken Kesey Merry Pranksters collection, $f (bulk 1964-1969).
173049, Kleckner, Susan. Susan Kleckner and Kate Millet collection, $f 1970s.
171630, Koster, Henry, $d 1905-1988. The Henry Koster collection of home movies, $f approximately 1934-1967.
171489, [Latino--production elements]
164365, Lloyd, Harold, $d 1893-1971. Harold Lloyd collection of home movies, $f 1926-1971, $g (bulk 1926-1932).
169467, [Medium cool--outtakes].
161695, [The night of the hunter--rushes. Robert Gitt presentation].
169187, One Institute & Archives. ONE National Gay & Lesbian Archives collection of film and video, $f circa 1965-1999.
167163, Outfest (Film Festival). Outfest LGBT film festival collection, $f 1939-2007, $g (bulk 1986-2007).
173022, [Paris is burning--production elements, $f 1985-1990].
172427, Rocco, Pat. Pat Rocco collection of gay erotic shorts, home movies, and other material, $f approximately 1948-1977, 2003, $g (bulk 1968-1972).
172053, Shaw Brothers (Hong Kong) Limited. The Shaw Brothers collection of Hong Kong films on DVD distributed by Celestial Pictures.
173059, Tushinski, Jim. Jim Tushinski collection of Tom Graeff films, $f 1951-1959, circa 1966.
Last modified: November 18, 2010, my