DRAFT, 12/1/1998
1. TITLE AND STATEMENT OF RESPONSIBILITY AREA
Contents
1A. Preliminary rule
1A1. Punctuation
1A2. Sources of information
1A3. One record per work
1A4. Title added entries
1B. Title proper
1B1. Title proper of television series, theatrical serials, newsreels, and educational and technical
series intended to be viewed consecutively
1B1.1 Television series
1B1.1.1 Episode titles, numbers and dates used to distinguish episodes within a series
1B1.1.2 Pilots
1B1.1.3 Episodes with more than one segment
1B1.1.4 Subseries
1B1.1.5 Television news
1B1.1.6 Sports events
1B1.2 Theatrical serials
1B1.3 Newsreels
1B1.4 Educational and technical series intended to be viewed consecutively
1B2. Works with a collective title
1B3. Works without a collective title
1B3.1 Multiple works with one predominant part
1B3.2. Multiple works with two or more equally important parts
1B4. Titles of versions
1C. General material designation
1C1. Placement of general material designation
1D. Parallel titles
1D1. Rerelease, reissue titles as parallel titles
1E. Other title information
1F. Structuring titles
1F1. Structuring titles for works associated with a titled work
1F2. Structuring titles with form terms as a descriptive category
1F3. Structuring titles for other works with supplied titles
1F3.1 Works which have titles but cannot be identified
1F3.2 Multiple works with no predominant part
1F3.3 Works which may never have had titles, are not associated with titled work and do not
belong in a form term descriptive category
1G. Statement of responsibility
1G1. Choice and placement of credits
1G1.1 Supplied credit terms
1G2. Order of credits
1G3. Ambiguous credits
1G3.1 Sponsors
1G3.2 Presenters
1G3.3 Vanity credits
1G3.4 Trade names
1G4. International co-productions
1G5. Compilations, amateur footage of public events, home movies, trailers, etc.
1G5.1 Compilations
1G5.2 Amateur footage of public events
1G5.3 Home movies
1G5.4 Trailers
1G5.5 Outtakes and trims
1G5.6 Excerpts and clips
1G5.7 Episodes of television series with separately titled segments
1A. Preliminary rule
1A1. Punctuation
For general instructions on prescribed punctuation, see 0C.
Enclose the general material designation, if used, in brackets. See 1C.
245 00 $a Father's doing fine $h [motion picture]. 245 00 $a Georgia O'Keeffe $h [videorecording].
When the title proper includes a colon, a slash, or the equal sign, do not use any of these three marks unless, according to normal practice, the space may be closed up on both sides. Usually, a comma or a dash (with space closed up on both sides) can be substituted for a colon.
245 04 $a The story of the space shuttle--triumph, tragedy &
rebirth.
(On film: The story of the space shuttle: triumph,
tragedy and rebirth.)
245 00 $a F/X.
If the title proper includes an ellipsis or brackets, replace them with a dash or parentheses, respectively. When replacing an ellipsis in the title proper with a dash, leave a space after the dash, unless the dash is at the beginning.
245 00 $a Getting around-- in Germany.
(On film: Getting around...in Germany.)
245 00 $a --and then there were none.
(On film: ...and then there were none.)
245 00 a Smack it up (flip it, rub it down).
(On film: Smack it up [flip it, rub it down].)
Enclose a cataloger-supplied title in its own set of brackets. See 1F.
245 00 $a [Launching of the Arizona] / $c [production company
unknown].
Precede a parallel title by a space, equal sign, space. See 1D.
245 00 $a Boop-oop-a-doop = $b Betty the circus queen.
Precede each unit of other title information by a space, colon, space. See 1E.
245 00 $a Guilty or innocent : $b the Sam Sheppard murder case.
Precede the first statement of responsibility by a space, diagonal slash, space. See 1G.
245 00 $a Father's doing fine / $c a Marble Arch production.
Precede each subsequent statement of responsibility by a space, semicolon, space. See 1G.
245 00 $a Father's doing fine / $c a Marble Arch production ;
director, Henry Cass ; producer, Victor Skutezky.
1A2. Sources of information
See 0B.
1A3. One record per work
A separate bibliographic record is usually made for each distinct work, even when two or more works appear on one physical piece. Exceptionally, archives may choose to describe multiple works on a single bibliographic record when it is determined that there are too many works to describe separately, or all the works have the same series title and the works are identified only with numerics (that is, there are no episode/part titles).
245 00 $a Kids say the darndest things. $n No. 91-108, 112, 119. 500 ## $a All episodes contained on 1 videocassette. $5 DLC (If applicable, use institution's local code.) 245 00 $a Telechat. $n No. 1-78. 500 ## $a All episodes are contained on 1 videocassette. $5 DLC (If applicable, use institution's local code.)
For multiple works with a collective title, see 1B2. For multiple works without a collective title, see 1B3.
When multiple works are deliberately repackaged with the intent of creating a new work, treat it as a new work and catalog it as a version. See Chapter 2.
1A4. Title added entries
Although this manual does not provide rules for determining when title added entries are needed for varying forms of a title proper, there are some instances when a rule indicates that a title added entry should be made. Also, in a few examples, the varying form of title added entry is shown for clarity. Guidelines for providing title added entries are found in AACR 2, 21.30J. For notes on variants and other titles, see 7B4.
For use of uniform title added entries, see AACR 2, Chapter 25 and Appendix D, M/B/RS Policy on Uniform Titles.
1B. Title proper
The title proper is the chief name of any moving image material and is usually used as the main entry heading, i.e., the primary access point to the material. See AACR 2, 21.1C. For archival moving image material, the title proper is usually the original release title in the country of origin. See 0A2. For titles of versions see 1B4. The title proper includes an alternative title but excludes parallel titles and other title information.
Transcribe the original release title in the country of origin exactly as to wording, order, and spelling, but not necessarily as to punctuation and capitalization. See also AACR 2, Appendix A, Capitalization. Add accents and other diacritical marks that are omitted from data found in the source(s) of information in accordance with the usage of the language of the work. For transcribing titles for television series, newsreels, educational and technical series intended to be viewed consecutively, and theatrical serials, see 1B1. For structuring supplied titles, see 1F.
245 00 $a Etat de sige. 245 04 $a The gilded cage. 245 00 $a Bob & Carol & Ted & Alice.
When the original title is unknown, a reissue or rerelease title found on the work or in secondary sources may be used. Do not bracket the title. Document the decision in a note.
245 04 $a The last round-up.
257 ## $a United States.
500 ## $a Title used is reissue title. Unable to determine
original release title. $5 DLC
(If applicable, use institution's local code.)
An alternative title is the second part of the title proper that consists of two parts, each of which is a title; the parts are joined by the word "or" (or its equivalent in another language). Title cross references (title added entries) are usually made for the second title. Follow the first part of the title and the word "or" (or its equivalent) with commas and capitalize the first word of the alternative title.
245 04 $a The limejuice mystery, or, Who spat in grandfather's
porridge?
245 00 $a Film d'amore e d'anarchia, ovvero, Stamattina alle 10
in Via dei Fiore nella nota Casa di Tolleranza.
245 04 $a The lonely man, or, The outcast.
If the title on the work or secondary sources includes a statement of responsibility or the name of the distributor, a cast member, author, scenarist, etc., do not use it as part of the title proper, unless research indicates that the title does indeed include the possessive. In doubtful cases, do not include the possessive statement of responsibility as part of the title proper. In most cases the statement of responsibility or name was not intended to be part of the original release title.
245 00 $a Victor Victoria.
not 245 00 $a Blake Edwards' Victor Victoria.
(Title on film.)
but 245 00 $a Fellini's Casanova.
(Research indicates that the possessive form of proper
name is part of the original release title.)
Numeric designations in the titles of sequels of features should be included as part of the title proper.
245 00 $a Star trek II--the wrath of Khan. 245 00 $a Jaws 2. 245 00 $a Rocky V.
1B1. Title proper of television series, theatrical serials, newsreels, and educational and technical series intended to be viewed consecutively
Capitalization and punctuation: Capitalize the first word of both the series title and the episode or part title. Lowercase the words that follows an initial article, except for proper nouns. Episode or part titles and numeric designations should be separated from the series title with the use of a period and a space. If a numeric designation is followed by an episode title, they should be separated by a comma and a space. If an episode title is followed by a numeric designation, they should be separated by a period and a space.
Enter the following types of moving image material under their series and episode, part, or segment titles (and/or numeric designation): television series, theatrical serials, newsreels, and educational and technical series that are intended to be viewed consecutively. The primary access point includes both the series and episode titles because episode or part titles are almost meaningless without the title of the series or serial to which they are subordinate.
When variant forms of series titles, or terms (such as chapter, episode, etc.) used in titles, are found within a series, generally use the predominant form of the series title or term. If there is no predominant form, choose one form and use it consistently. Instructions are given throughout 1B1.1 for specific instances.
When different identifying elements, such as episode titles and numeric designations, are found to distinguish episodes within a series, see 1B1.1.1 for guidance on using episode titles, numbers and/or dates as part of the title proper.
245 00 $a All in the family. $p Archie's cousin. $n Part 1.
245 00 $a Introduction to mathematics. $n No. 1, $p Numeration
systems.
245 04 $a The march of time. $n Vol. 14, no. 18, $p Watchdogs of
the mail.
When the series title changes permanently, use the series title for that time period appropriate to the episode being described.
245 00 $a Disneyland. $p When knighthood was in flower.
(Series title from 1954-1958.)
245 00 $a Walt Disney presents. $p Flash, the teenage otter.
(Series title from 1959-1961.)
245 00 $a Walt Disney's wonderful world of color. $p How the
West was won.
(Series title from 1962-1969.)
A note may be given for the series title immediately preceding.
245 00 $a Walt Disney presents. $p Flash, the teenage otter.
500 ## $a This series was titled Disneyland between 1954-1958.
245 00 $a Walt Disney's wonderful world of color. $p How the
West was won.
500 ## $a This series was titled Walt Disney presents between
1959-1961.
When variant forms of the series title(s) are found on the work(s) and or in secondary sources within the same year(s), and they are not reissue title(s), use the predominant form as the series title. If there is not a predominant form, choose one form for the series title. All other variant series title(s) should be placed in a note. Make title added entries for the other forms of variant series title(s) with the episode title. For reissue titles see 1D1.
245 04 $a The Ruff and Reddy show. $n [1964-02-08]
246 3# $a Ruff & Reddy show. $n [1964-02-08]
246 3# $a Ruff & Ready. $n [1964-02-08]
246 3# $a Ruff 'n Reddy. $n [1964-02-08]
500 ## $a Series title appears as Ruff & Ready on leader; as
Ruff & Reddy on original film can; as Ruff 'n Reddy in
NBC program analysis files.
Supplied dates used as part of the title proper should be bracketed. Use the YYYY-MM-DD format. When only the year is known use the YYYY format.
245 00 $a All my children. $n [1983-03-31]. 245 04 $a The Annual Baptist Conference. $n [1986]. 245 04 $a The Tracy Ullman show. $n [1987], show no. 1. 245 04 $a The Tracy Ullman show. $n [1988], show no. 1.
Optionally, wherever instructions are given to supply the date in the YYYY-MM-DD format, archives may choose to use an alternative format such as:
245 00 $a All my children. $n [31Mar1983].
When it is necessary to include a numeric designation as part of the title proper, it must always be preceded by an appropriate term, e.g., No., Part, Vol., Episode no., Show no. depending upon what appears on the work or in secondary sources. Do not include numeric designations in titles where the numeric represents part of a unit count, e.g., source states "Part 2", meaning reel 2.
245 00 $a 60 minutes. $n Vol. 7, no. 29. 245 00 $a Pathe news. $n No. 21. 245 00 $a Perils of Nyoka. $n Chapter 9, $p Burned alive. 245 00 $a All in the family. $p Archie's cousin. $n Part 1.
When various terms are used preceding numerics within a series or serial, choose the one that is predominant for all main entry headings. If there is no predominant term, choose one of the terms and use it for all the main entry headings. Whenever the term is supplied, enclose it in brackets. If a term is lacking, supply the term "No." enclosed in brackets, i.e., [No.]. Give notes about variant terms if appropriate.
245 04 $a The adventures of Rex and Rinty. $n Chapter 1. 245 04 $a The adventures of Rex and Rinty. $n Chapter 2. 245 04 $a The adventures of Rex and Rinty. $n [Chapter] 3. 500 ## $a On film: number 3. $5 DLC (If applicable, use institution's local code.)
If there is not a consistent pattern of usage for the form of the term, use the spelled-out form in brackets. If there is not a consistent usage for the form of the number (roman, arabic and/or spelled-out numerals are found), use the arabic numeral enclosed in brackets. A note should be made for the variant form(s).
245 00 $a All in the family. $p Edith's crisis of faith. $n [Part
1].
500 ## $a On film: pt. I. $5 DLC
(If applicable, use institution's local code.)
245 00 $a All in the family. $p Edith's crisis of faith. $n [Part
2].
500 ## $a On film: part two. $5 DLC
(If applicable, use institution's local code.)
1B1.1. Television series
As noted above, enter television series programs by the series and episode title or numeric designation, separated by a period, space.
245 00 $a America 2night. $n Episode no. 233. 245 00 $a M*A*S*H. $p Abyssinia Henry. 245 00 $a 60 minutes. $n Vol. 7, no. 29. 245 00 $a Roots--the next generations. $n Show no. 1. 245 00 $a Roots--the next generations. $n Show no. 2. 245 00 $a Biff Baker, U.S.A. $p Trouble in Pakistan. 245 00 $a CBS news special report. $p The Duke, 1907-1979. 245 00 $a ABC news closeup. $p The weekend athletes.
1B1.1.1 Episode titles, numbers and dates used to distinguish episodes within a series
When episodes within a series have episode titles, use them in the title proper to distinguish the episodes. If there are no episode titles, use the episode number, show number, or production number, in that order. If there is no identifying number, use the broadcast date in the YYYY-MM-DD or YYYY format, in that order. In the event that episodes within a series are distinguished by different identifying elements (some have episode titles, some have episode numbers, etc.), use the predominant form. If there is no predominant form, choose one form and be consistent. Make notes as necessary. Make varying form of title added entries as necessary. Detailed instructions are given below.
For television series that do not have episode titles, but have only numeric designations, use the numeric as part of the title proper.
245 00 $a Peyton Place. $n [No.] 150. 245 00 $a Kids say the darndest things. $n No. 91-108, 112, 119. 500 $a All episodes contained on one videocassette. $5 DLC (If applicable, use institution's local code.)
When television episode titles are present, do not include associated numbers such as episode numbers, show numbers, etc. as part of the title. Place the associated number in a note. See 7B29.
245 00 $a Mary Tyler Moore. $p Chuckles bites the dust.
500 ## $a Episode no. 233.
not 245 00 $a Mary Tyler Moore. $n Episode no. 233, $p Chuckles bites
the dust.
However, if the associated number is an important element integral to the title, include the number in the title. If the episodes are intended to be viewed sequentially, include the associated numbers.
245 04 $a The Civil War. $n Episode 1, $p 1861--the cause.
245 04 $a The Civil War. $n Episode 2, $p 1862--a very bloody
affair.
When a television series consists of programs, some with episode titles, some with numbers and some with no identifying element, use the predominant form. If there is no predominant form, choose one form, such as the broadcast date, to distinguish one episode from the other. For the episodes which do have episode titles, a title added entry should be made from the series and episode title.
245 04 $a The Chevy show. $n [1959-11-08].
246 3- $a Chevy show. $p Grand National World Championship Rodeo
500 ## $a Episode title given as Grand National World
Championship Rodeo in NBC program analysis file. Date
taken from original film cans; verified in NBC program
analysis file.
245 04 $a The Chevy show. $n [1959-11-29].
500 ## $a No episode title found, date taken from original film
cans; verified in NBC program analysis file.
245 04 $a The Chevy show. $n [1959-12-6].
246 3- $a Chevy show. $n No. 13
500 ## $a Episode number from leader; date taken from original
film cans; verified in NBC program analysis file.
If no episode title, number, or other descriptor can be found to distinguish episodes within a television series, supply an appropriate one, (e.g., a regularized number, a date, etc.) and enclose it in brackets.
245 00 $a Panorama. $n [l983-07-09].
245 00 $a Orioles report. $n [1983, show no. 3].
245 00 $a All in the family. Edith's crisis of faith. $n [Part
3].
Optionally, archives may choose to use the original telecast date in the YYYY-MM-DD format to distinguish episodes within a series, whether or not they already have episode titles and/or numbers. For excerpts and/or clips of an episode of a series, see 1E3.
245 00 $a Orioles report. $n [1983-10-31].
For annually broadcast programs that have no numeric designations within the series to make them unique, use the YYYY format in the title.
245 04 $a The Academy Awards. $n [1984]. 245 04 $a The Annual Baptist Conference. $n [1986].
For annually broadcast programs that do have numeric designations within their series titles to make them unique, do not add a term before the number.
245 00 $a Comic relief. $n VI.
If a television series program has numeric designations that repeat annually, supply a distribution year date in brackets in the YYYY format, followed by the numeric designation.
245 04 $a The Tracey Ullman show. $n [1987], show no. 1. 245 04 $a The Tracey Ullman show. $n [1988], show no. 1.
1B1.1.2 Pilots
A pilot is an episode of a television series which, regardless of its length, introduces the television series.
If the pilot has an episode title, use the episode title as part of the title proper. Make a note describing the episode as a pilot.
245 00 $a Simon & Simon. $p Pirate's key. 500 ## $a The term "pilot" appears on leader of reel one. $5 DLC (If applicable, use institution's local code.)
If the pilot has a numeric designation but no episode title and the other episodes in the series have episode titles, use the term "Pilot" enclosed in brackets. Place the numeric designation for the pilot in a note.
245 00 $a 9 to 5. $p [Pilot]. 500 ## $a Episode no. 001.
If the pilot belongs to a series in which all episodes are identified by their numeric designation, then use the numeric designation for the pilot as part of the title proper. Make a note describing the episode as a pilot.
245 00 $a Wild kingdom. $n Show no. 1.
500 ## $a Research indicates that this is the pilot for the
series.
If the pilot for a television program series does not have an episode title or numeric designation, supply the term "Pilot" enclosed in brackets, as the episode title.
245 04 $a The legend of Jesse James. $p [Pilot].
If an episode within an existing television series is a pilot for a new series, make a note describing the show as a pilot for the new television series.
245 00 $a All in the family. $p The Jeffersons move up.
500 ## $a This episode is the pilot for the spinoff series The
Jeffersons.
A made-for-television movie can also be a pilot introducing a television series. If so make a note describing the program as a pilot.
245 00 $a Stingray.
500 ## $a This is a pilot for the series Stingray per
accompanying paperwork.
1B1.1.3 Episodes with more than one segment
When an episode of a television series has more than one separately titled segment, but also has an episode title or number, use the episode title or number following the series title and put the segment titles in a contents note. See 7B28.
245 00 $a 60 minutes. $n Vol. 21, no. 5.
505 0# $a No one saved Dennis -- George Burns -- Costa Rica is
different -- A few minutes with Andy Rooney.
When such episodes have no episode titles or numbers, then use the segment titles as the episode title, in the order in which they occur. Separate the segment titles with the word "and" enclosed in brackets. For placement of credits, see 1G1. Archives may choose to limit the number of segment titles used as the episode title.
245 00 $a Fantasy Island. $p Cowboy [and] The substitute wife.
245 00 $a Love American style. $p Love and the single couple
[and] Love and a couple of couples [and] Love and the
wild party [and] The pleasure palace.
Optionally, when an episode of a television series with no episode titles or numbers has more than one titled segment, archives may choose to supply an appropriate collective episode title or number enclosed in brackets and give the segment titles in a contents note. See 7B28.
245 00 $a Love American style. $p [Valentine's Day stories].
505 0# $a Love and the single couple -- Love and a couple of
couples -- Love and the wild party -- The pleasure
palace.
245 00 $a Love American style. $n [1984-02-14].
505 0# $a Love and the single couple -- Love and a couple of
couples -- Love and the wild party -- The pleasure
palace.
(Telecast date has been chosen as supplied part title)
1B1.1.4 Subseries
A subseries is a group of programs with a title that is subordinate to a larger series. There may be several different subseries within a particular series. The subseries titles follows the series title and precedes the episode title. If the subseries has part numbers, the part number follows the subseries title and precedes the episode title.
Capitalization and punctuation: Capitalize the first word of the subseries and precede the title of a subseries by a period, space .
245 00 $a ABC scope. $p The Vietnam War. $p Children of war.
245 00 $a ABC scope. $p The Vietnam War. $p How much dissent?
245 00 $a Great performances. $p Dance in America. $p Martha
Graham Dance Company. $p Clytemnestra.
245 00 $a Mystery. $p Die Kinder. $n Part 1, $p Direct action.
245 00 $a Mystery. $p Mother love. $p Part 1.
1B1.1.5 Television news
For television news, use the title found on the work and/or secondary sources as the title proper.
The following instructions do not apply to television news specials or to magazine format programs that are entered under their titles. See examples in 1B1.1.
Optionally, archives may choose to format regularly scheduled television news programs uniformly in order to provide consistent access to them. To construct the title, usually use, in this order: the network or television station, the word "news", the date, and the time of broadcast, e.g., morning, midday, evening, night. Although the name of a news program may be the same as the company that produced it, as part of the title, the word "news" is lowercased.
245 00 $a [(Name of network or station) news. $n Date (using the
YYYY-MM-DD format). p Time of day (Morning, Midday,
Evening, Night, or other appropriate designation)].
Some parts of the title may be found on the work, container or secondary sources, but because the title is constructed in a uniform format, the whole title proper is to be considered supplied and should be enclosed in brackets.
245 00 $a [ABC news. $n 1997-01-01. $p Morning]. 245 00 $a [NBC news. $n 1980-12-12. $p Evening].
Optionally, use the following alternative format for the supplied date:
245 00 $a [CBS news. $n 31Oct1983. $p Midday].
To distinguish between separate feeds or times of broadcast add the time and the word, "feed" following the time of broadcast.
245 00 $a [CBS news. $n 1980-11-04. $p Evening, 6:30 feed]. 245 00 $a [CBS news. $n l980-11-04. $p Evening, 7:00 feed].
For news programs that are broadcast on the same day, with the same designation, e.g., Update, Newsbreak, etc., but at different times, include the time following the designation.
245 00 $a [CBS news. $n 1982-09-25. $p Update, 5:20-5:30 PM EST].
For locally televised news programs, use the call letters of the local station as the first part of the title proper. Do not include a place name after the call letters unless it is an integral part of the station's name.
245 00 $a [WTTG-TV news. $n 1981-05-05. $p Midday].
Optionally, follow the call letters of the local station with a place name using the comma, space punctuation.
245 00 $a [WTTG-TV news, Washington, D.C. $n 1981-05-05. $p
Midday].
Make varying form of title added entries for title found on work and/or secondary sources, and for other titles associated with the work. Give notes about the titles, as needed.
For excerpts of news programs, see 1F1 and 1F2.
1B1.1.6 Sports events
For sports events use as the title found on the work and/or secondary sources as the title proper..
The following instructions apply only to the actual sports events, not to other sports coverage such as pre-game and post-game shows, highlights, specials, etc.
Optionally, archives may choose to format titles of sports events uniformly in order to provide quicker and more consistent access. The titles for such works often vary depending on the broadcast network, sponsor or other considerations. Using a uniform format allows the user quick access to a particular event and avoids the problems of inconsistently titled works. To construct the title, usually use, in this order: the league (if applicable), event (when known), the name of the sport (if applicable), the date in the YYYY-MM-DD format (when known) and the participants (when known). Use the full form of the participant's name if known.
Some parts of the title may be found on the work, container or secondary sources, but because the title is constructed in a uniform format, the whole title proper is to be considered supplied and should be enclosed in brackets. However, do not bracket series titles (see below for treatment of series titles).
245 00 $a [NFL football. $n 1992-11-02, $p Minnesota Vikings at
Chicago Bears].
246 3# $a Monday night football. $p Vikings at Bears. $n Week 9
500 ## $a Variant title from accompanying paperwork.
Archives may choose not to supply a part title when the participants are not known.
245 00 $a [Wimbledon tennis. $n 1983-06-20]. 246 3# $a Championships at Wimbledon. $n 1983, $p First day. 500 ## $a Variant title from accompanying paperwork.
Give other information as the part title if such information is considered useful.
245 00 $a [Wimbledon tennis. $n 1980-07-03, $p Men's quarter
finals].
246 3# $a Wimbledon. $n 1980
500 ## $a Variant title from accompanying paperwork.
If the participants are known, but other information is also considered useful, give the other information as a second part title, following the names of the participants.
245 00 $a [Wimbledon tennis. 1980-07-05, $p Bjorn Borg vs. John
McEnroe. $p Men's singles finals].
For named sports events, use the name of the event as the first part of the title proper, followed by the date, if known and names of the participants, if known, and if applicable.
245 00 $a [Super Bowl XXXII football. $n 1998-01-26, $p Denver
Broncos vs. Green Bay Packers].
Optionally, for well-known named sports events, do not supply the name of the sport (e.g., football, tennis, boxing, etc.) as part of the title.
245 00 $a [Super Bowl XXXII. $n 1998-01-26, $p Denver Broncos vs.
Green Bay Packers].
For sports events broadcast as part of a series, do not bracket the series title. See also 1B1.1.4.
245 00 $a HBO sports. $p [WCB boxing. $n 1993, $p Riddick Bowe
vs. Evander Holyfield].
246 3# $a World championship boxing. $p Bowe vs. Holyfield
500 ## $a Variant title from accompanying paperwork.
If the name of the sport appears in any portion of the supplied title (e.g., in the name of the league, the name of the series, etc.), it is not necessary to repeat it.
245 00 $a [Shell's wonderful world of golf. $n [1964-02-16, p
Knudson versus Leonard]
Optionally, use the following alternative format for the supplied date:
245 00 $a [Wimbledon tennis. $n 20Jun1983].
Make varying form of title added entries for title found on work and/or secondary sources, and for other titles associated with the work. Give a general note about the titles, as needed.
1B1.2 Theatrical serials
Punctuation: Use the period, space punctuation to separate the serial title from the chapter number and title. Use the comma space punctuation to separate the episode number from the episode title.
Theatrical serials are always intended to be viewed in a specified order. Therefore episode/chapter numbers and titles are usually readily available on the work itself or in secondary sources.
245 00 $a Perils of Nyoka. $n Chapter 9, $p Burned alive.
245 00 $a Captain Midnight. $n Chapter 14, $p Scourge of revenge.
245 04 $a The trail of the octopus. $n Episode 2, $p The Purple
dagger.
245 04 $a The adventures of Rex and Rinty. $n Chapter 1.
If the work and/or secondary sources use the terms such as "Chapter", "Episode" and/or "Number" (or No.) interchangeably, choose the one that predominates. If no term predominates, choose a term and use it consistently. If a term is supplied, enclose it in brackets.
245 04 $a The trail of the octopus. $n Episode 5, $p The eye of
Satan.
(The word episode appears on the work.)
245 04 $a The trail of the octopus. $n Episode 7, $p The dance of
death.
(The word episode appears in secondary source.)
245 04 $a The trail of the octopus. $n [Episode] 9, $p The
chained soul.
(The word chapter appears on the work.)
If the work and/or secondary sources show no predominant usage, or if no term such as "Chapter", "Episode" or "Number" is found, supply the term "No." enclosed in brackets.
245 04 $a The purple mask. $n [No.] 12, $p Vault of mystery.
When a serial contains more than one unit per episode and the designations "Part 1" and "Part 2", etc. appear on the works or in secondary sources, do not include this designation as part of the title. In this case, "Part 1" and "Part 2" represent unit numbers not episode numbers and should be placed in the line of physical description.
245 00 $a Perils of Nyoka. $n Chapter 9, $p Burned alive.
(Film is 2 reels in length; Part 1 & Part 2 appear on
reels.)
300 $a 2 reels of 2 (1800 ft.) : b sd., b&w ; c 35 mm. ref
print.
not 245 00 $a Perils of Nyoka. $n Chapter 9, $p Burned alive. $n Part
1.
245 00 $a Perils of Nyoka. $n Chapter 9, $p Burned alive. $n Part
2.
For theatrical serials that do not have episode titles, but have only numeric designations, use the numeric as part of the title proper, using the appropriate term as described above.
245 04 $a The adventures of Rex and Rinty. $n Chapter 1.
1B1.3. Newsreels
Capitalization and punctuation: Capitalize the first word of the series and episode titles and any proper noun. Do not confuse the name of the corporate body that produced the newsreel with the newsreel title. The newsreel title is followed by a period and a space. The numeric designation is followed by a comma and a space only if it precedes an episode title.
For newsreels, treat the numeric designation, such as volume number and issue number, as part of the title proper following the newsreel title. If both a numeric designation and an episode title are found, the numeric designation precedes the episode title. If no numeric designation can be found, use the episode title.
When structuring titles for numbered newsreels, use the predominant term found on the work or in secondary sources. If the number alone is found on the work or in secondary sources, include the term "No." in enclosed brackets preceding the number.
245 00 $a Pathe news. $n No. 21.
245 00 $a News of the day. $n Vol. 37, no. 284.
245 04 $a The march of time. $p Atomic power.
245 04 $a The march of time. $n Vol. 14, no. 13, $p White-collar girls.
245 00 $a Pathe review. $n No. 13, $p With the Putnam Expedition
to Greenland.
245 00 $a International newsreel. $n Vol. 1, issue 53 / c
International Film Service.
245 00 $a British Canadian Pathe news. $n [No.] 83A / c British
Canadian Pathe News ; L.E. Ouimet presents.
(Note that in the statement of responsibility the word
news is capitalized, but in the title it is not.)
For structuring titles for newsreels when the title cannot be identified, see 1F1 and 1F2.
1B1.4 Non-television educational and technical series intended to be viewed consecutively
A non-television educational or technical series title and episode title should be considered the title proper when the work is part of a series intended to be viewed consecutively. Non-television series that are intended to be viewed together, rather than independently, should be entered under the series title followed by the episode title, and/or number if appropriate.
When various terms are used preceding numerics within a technical or educational series, choose the one that predominates within the series for all main entries. Whenever the term is supplied, enclose it in brackets. If there is no predominant term, or term is lacking, supply the term "No." enclosed in brackets. Make a note for information on variant terms if appropriate.
Educational television series should treated like any other television series. See 1B1. Non-television series not intended to be viewed consecutively are discussed in Chapter 6.
245 00 $a Introduction to mathematics. $n No. 1, $p Numeration.
245 00 $a Introduction to mathematics. $n [No.] 2, $p Non-decimal
numeration system.
245 04 $a The nature of communism. $n Vol. 1, $p Introduction to
the course.
245 00 $a Process piping drafting. $p Basic piping data.
245 00 $a Process piping drafting. $p Specifications and
equipment detail.
1B2. Works with a collective title
Use the collective title as the main entry heading. A collective title is a title proper that is an inclusive title for a work containing multiple works. For placement of credits, see 1G1. Include a version/edition statement as necessary. See Chapter 2. Make a contents note including the separate titles appearing on the work. See 7B28.
For archives choosing to make analytical title added entries from the contents note, see Appendix D, M/B/RS Policy on Uniform Titles.
245 00 $a Popples. $n Vol. 1.
505 0# $a Popples. Treasure of Popple Beach / produced by Jean
Chalopin and Tesuo Katayama -- Popples. Poppin' at the
beach / produced by Jean Chalopin and Tesuo Katayama.
Where no collective title is given, each title should be cataloged separately following the provisions in 1A3.
1B3. Works without a collective title
A moving image work may consist of several separate works and lack a collective title. A separate record is usually made for each separately titled work. See 1A3. However, multiple works are sometimes described on a single record. See 1B2 and 1F3.2.
1B3.1 Multiple works with one predominant part
If one work is the predominant part, treat the title of this work as the title proper and name the other part or parts in a note.
245 00 $a CBS news special. $p A black view of South Africa.
500 ## $a Includes commercials for Cascade detergent, Duncan
Hines cake mix, Chanel No. 5 perfume, Salvo detergent.
$5 DLC
(If applicable, use institution's local code.)
245 00 $a All America wants to know. $p Murder by mail order.
500 ## $a Footage includes commercials. $5 DLC
(If applicable, use institution's local code.)
For trailers, see 1F1 and 1F2. For public service announcements, see 1F2.
1B3.2. Multiple works with two or more equally important parts
If a work lacks a collective title and all or some of the separately titled parts are of equal importance, make a separate record for those parts considered important and name the other parts in a note. Each record should refer to the other work in a note. See also 7B31.
245 00 $a Madame Butterfly.
501 ## $a On cassette with: Einstein's children.
245 00 $a Einstein's children.
501 ## $a On cassette with: Madame Butterfly.
245 04 $a The fable of the honeymoon that tried to come back.
500 ## $a On one reel with: The fable of all that triangle stuff.
$5 DLC
(If applicable, use institution's local code.)
245 04 $a The fable of all that triangle stuff.
500 ## $a On one reel with: The fable of the honeymoon that tried
to come back. $5 DLC
(If applicable, use institution's local code.)
245 04 $a The crowd / c Metro-Goldwyn-Mayer ; director, King
Vidor ; screenplay by King Vidor and John V.A. Weaver.
500 ## $a Two videodiscs in one jacket. On sides one and two: The
crowd. On sides three and four: The wind.
245 04 $a The wind / c Metro-Goldwyn-Mayer ; director, Victor
Seastrom ; scenario by Francis Marion.
500 ## $a Two videodiscs in one jacket. On sides one and two: The
crowd. On sides three and four: The wind.
500 ## $a Contains interviews with David Gill and Kevin Brownlow.
If a work with two or more equally important parts is considered a version, see Chapter 2. If a supplied title is needed for a work with two or more equally important parts, see 1F3.2.
Optionally, if the work contains a limited number of parts, archives may choose to record the titles of the individually titled parts in the title area in the order in which they appear on the work. Separate the titles of the parts by semicolons if the parts are all by the same company (companies) and/or person (persons), even if the titles are linked by a connecting word or phrase.
245 00 $a Infancy ; b Childhood / c [written by] J. Thornton
Wilder.
If the individual parts are by different persons or bodies, or in case of doubt, follow the title of each part by its parallel titles, other title information, and statements of responsibility, and a period followed by two spaces. Title added entries should be made for all but the first title. For placement of credits, see 1G1.
245 04 $a The Truman story / c Greenwood Productions. They're
in the army now / Creative Associates, Inc.
1B4. Titles of versions
The title main entry heading for a version should be the title of the version itself and not the title of the original work. The version is connected to the original work through a uniform title added entry heading if the original release title is different from the title of the version. See Chapter 2.
1C. General material designation (GMD)
Use the following general material designations:
motion picture
videorecording
Optionally, archives may choose not to use general material designations, particularly when an archive may hold a work in both formats. The scope of an institution's collections and the physical description area may make the general material designation redundant. However, institutions that integrate their cataloging records with records for other media may wish to apply general material designations. See AACR 2 for additional information.
1C1. Placement of general material designation
If general material designations are used, add them immediately following the title proper and enclose them in brackets.
245 00 $a Heart to heart h [motion picture].
245 00 $a Star virgin h [videorecording].
245 04 $a The limejuice mystery, or, Who spat in grandfather's
porridge? h [motion picture].
245 00 $a Magazine. $n Edition no. 48, $p March magazine h
[videorecording].
245 00 $a Boop-oop-a-doop h [motion picture] = b Betty the
circus queen.
(The general material designation is placed after the
title proper and before the parallel title.)
245 04 $a The cheesemakers h [motion picture] : b traveling
through the world of cheese.
(The general material designation is placed after the
title proper and before the other title information.)
1D. Parallel titles
Capitalization and punctuation: Capitalize the first word of the parallel title. Do not capitalize the following word unless it is a proper noun. Precede the parallel title by a space, equal sign, space.
Although a parallel title is defined by traditional library usage as the title proper in another language and/or script, for moving image cataloging, usually titles in the same language and/or script will be used as parallel titles. Rerelease and reissue titles are as parallel titles.
Titles should be given in the order of release. Title added entries will always be given for parallel titles. Other titles, such as an inventory title or working title, will not be used as parallel titles but should be placed in a note. See 7B4.
Works in another language and/or script will be treated as versions. See Chapter 2.
1D1. Rerelease, reissue titles as parallel titles
Rerelease titles in the same language as the original should be used as parallel titles if the work in hand is found to have been released later under a different title than the original, by the same company without any change to its contents. Any change to its contents would make the work a version. See Chapter 2.
245 00 $a Perils of Nyoka. $n Chapter 14, $p Blazing barrier = $b
Nyoka and the tigermen. Chapter 14, Blazing barrier /
$c Republic Pictures Corp. ; directed by William Witney
; [producer], W.J. O'Sullivan ; written by Ronald
Davidson, Norman S. Hall, William Lively, Joseph
O'Donnell, Joseph Poland.
246 30 $a Blazing barrier
246 31 $a Nyoka and the tigermen. $n Chapter 14, $p Blazing
barrier
257 ## $a United States.
260 00 $a United States : b Republic Pictures Corp., c 1942 ;
a United States : b Republic Pictures Corp, c [194-?]
500 ## $a On film: Republic Pictures presents a re-release,
Republic Pictures presents Nyoka and the tigermen,
formerly titled Perils of Nyoka.
Reissue titles in the same language as the original should be used as parallel titles if the work in hand is found to have been released later under a different title than the original and by a different company without any change to its contents. Any change to its contents would make the work a version. See Chapter 2.
245 00 $a Boop-oop-a-doop = $b Betty the circus queen / $c
246 31 $a Betty the circus queen
257 ## $a United States.
260 00 $a United States : $b Paramount Publix Corporation, $c
1932 ; $a United States : $b Conger & Santo, $c [1935?]
245 00 $a Whisky galore! = $b Tight little island / $c Ealing
Studios ; director, Alexander Mackendrick ; producer,
Michael Balcon ; screenplay by Compton Mackenzie, Angus
Macphail.
246 31 $a Tight little island
257 ## $a Great Britain.
260 ## $a Great Britain : $b General Film Distributors, c 1949 ;
$a United States : $b Universal-International, c 1949.
500 ## $a Archive holds U.S. release copy. $5 DLC
(If applicable, use institution's local code.)
245 00 $a Candid eye. $p Lonely boy = $b Lonely boy / $c National
Film Board of Canada, Unit B ; directors, Wolf Koenig,
Roman Kroitor ; producer, Roman Kroitor.
246 31 $a Lonely boy
257 ## $a Canada.
260 ## $a [Canada : $b s.n., $c 1961?] ; $a Canada : $b National
Film Board of Canada, c 1962.
500 ## $a First released as part of a Canadian television series.
Later released under the title Lonely boy.
1E. Other title information
Capitalization and punctuation: Separate the title proper from other title information deemed important by the space, colon, space punctuation. Do not capitalize the word following the colon unless it is a proper noun. If a general material designation is used, place it after the title proper and before the space, colon, space.
Other title information is any phrase appearing in conjunction with the title proper, parallel title, or other titles, indicative of the contents, etc., of the work, or its production. (The term subtitle is sometimes used in the same sense as other title information, however, archives more often use the term subtitle when referring to the words shown at the bottom of the frame to translate foreign language dialogue).
245 00 $a Claymation: $b three dimensional clay animation $h
[motion picture].
245 00 $a Inside the Hayek equation: $b an interview with
Friedrich von Hayek.
245 00 $a CBS news special. $p Challenge in the coal mines : $b
men against their union.
Optionally, archives may choose to include important other title information as part of the title proper separated from the first part of the title with either a comma, space or with a dash.
245 00 $a Claymation, three dimensional clay animation $h [motion
picture].
245 00 $a Inside the Hayek equation--an interview with Friedrich
von Hayek.
1F. Structuring titles
Punctuation: The entire supplied title is enclosed in brackets.
The rules below serve as guidelines for structuring titles for moving image works with probable or questionable titles or with no titles at all. Archives may apply different policies to different collections or groups of moving image materials, depending upon the material being cataloged, the organization of the catalog and the organization of the material when it was acquired by the archives.
Archives may choose to group works under the title of an associated titled work, a form term, or a descriptive category. A descriptive phrase may be used together with one of the above broader groupings or it may be used alone as the supplied title. A probable or questionable legitimate title may also be used alone as the title proper, or it may be used with a descriptive category.
For some works, titles may be structured in more than one of the ways described below. In these cases, a method should be selected and documented.
1F1. Structuring titles for works associated with a titled work
Capitalization and punctuation: The form term is preceded by a dash. Do not capitalize the form term.
If the work being cataloged is dependent upon and identified by its relationship to a titled work, use the title proper of the titled work as the first part of the supplied title, followed by an appropriate form term. See Appendix H, Form Terms for a standardized list of form terms or archives may develop their own list.
Catalog trailers, outtakes, clips, excerpts, etc. as separate works even when attached to another work, except when they are being considered as part of a version. See 1A3. For versions see Chapter 2.
245 00 $a [Hill Street blues--television promo]. 245 00 $a [Robin Hood and the golden arrow--outtakes]. 245 00 $a [Getting acquainted with bees--trims]. 245 05 $a [The cecropia moth--excerpts]. 245 00 $a [Robin Hood, men in tights--audiovisual press kit]. 245 00 $a [Chariots of fire--trailer].
When an excerpt of a television program has been given a separate segment title, but remains unpublished in this form, construct the title as an excerpt. Include the segment title in a explanatory note. 245 00 $a [20/20. $n 1991-06-14--excerpts]. (On accompanying paperwork, this segment is titled 20/20. Killer fat; however, research indicates that this segment was never aired separately from the original broadcast.)
When excerpts of edited news segments are from the same newsreel company or television network or station, but the volume and/or issue dates are different, construct the title as an excerpt. If the archive holds multiple segments on more than one reel, each reel should be cataloged separately and distinguished from the others by a number assigned by the archive following the word "excerpts." 245 00 $a [Kinograms--excerpts]. 245 00 $a [Pathe news--excerpts. $n No. 6]. 245 00 $a [ABC news--excerpts. No. 5].
For instructions on describing complete newsreel issues and single segments, see 1B1.3. For instructions on describing complete television newscasts, see 1B1.1.5.
1F2. Structuring titles with form terms as a descriptive category
Capitalization and punctuation: The first letter of the form term is capitalized and is followed by a dash.
When the work or works being cataloged fall into a group which can be described with a form term, supply a title for the work consisting of the term, followed by a descriptive phrase or other supplied title. If a title appears on the work, container, or accompanying documentation, include it as a part title following the bracketed supplied title. See Appendix H, Form Terms for a standardized list of form terms or archives may develop their own list.
If the works being cataloged need to be uniquely identified, numbers may be assigned by the archive and used as the last part of the supplied title. A descriptive phrase or other title may be used as the last part of the supplied title to distinguish works with a supplied title which would be otherwise identical.
For television commercials, public service announcements, etc., use the name of the product, service, or other interest advertised or promoted following the form term. If no single product, service, etc. is advertised or announced, try to identify as precisely as possible the generic product or service advertised or announced, using whatever information is available, including product names, place names, company names, etc. If no information is available, supply a general term or phrase. 245 00 $a [Television commercial--Ajax cleanser]. 245 00 $a [Television commercial--Dow Chemical Company]. 245 00 $a [Television commercial--household products]. 245 00 $a [Public service announcement--Anti-littering campaign]. 245 00 $a [Holiday greetings--Stadium Theater, Jerseyville, Ill.].
245 00 $a [Television commercial--Miller beer.] $p Pit crew. (The title Pit crew appears on the work.) 245 00 $a [Television commercial--Sunlight dishwashing detergent. p Napoleon, king, secretary]. (Descriptive phrase used to distinguish identical supplied titles.) 245 00 $a [Television commercial--Sunlight dishwashing detergent. p Farmer's daughter]. (Descriptive phrase used to distinguish identical supplied titles.)
For commercials that appear within television programs, treat the television program as the predominant work and refer to the commercials in a note. See 1B3.1.
When a single individual is identified as the subject of the footage, use the name in direct order as the second portion of the supplied title, following the form term. For home movies, use the name of the person whose family, friends and/or personal experiences are the subject of the material. 245 00 $a [Screen tests--Rosa Ponselle]. 245 00 $a [Speeches--Theodore Roosevelt--inaugural ceremony, 1905]. 245 00 $a [Interviews--James Cagney, ca. 1965]. 245 00 $a [Home movies--Robert A. Taft, Sr.]. 245 00 $a [Home movies--Eugene and Agnes Meyer. $p Family camping trip in the Canadian Rockies]. 245 00 $a [Home movies--Harold Ickes.] $p Headwaters Farm. 500 ## $a The title Headwaters farm appears on the work. $5 DLC (If applicable, use institution's local code.) 245 00 $a [Home movies--Ralph Barton. $p New York scenes, Paris scenes and European scenes]. (Cataloger has supplied a part title for unrelated scenes assembled by Barton.)
When describing edited news segments from different newsreel companies or television networks or stations, the supplied title may included the phrase "various newsreels" or "various news television programs." 245 00 $a [Clips--various news television programs. $n No. 6]. 245 00 $a [Clips--various newsreels. $n No. 5].
1F3. Structuring titles for other works with supplied titles
Punctuation: Use the period, space punctuation to separate the descriptive category from the descriptive phrase. If a number is used between a descriptive category and a descriptive phrase, use the period space to separate the descriptive category from the number, and the comma, space to separate the number from the descriptive phrase.
The following rules are for structuring titles for various kinds of moving image material: a) works which have titles but cannot be identified; b) works which did not have a title in the form in which the work is held by the archive, e.g., multiple works with no predominant part; c) works which never had titles, are not associated with a titled work and do not belong in a form term descriptive category. For these types of materials a supplied title is always used as the title proper. When there is more than one work in the same descriptive category, use a number to distinguish them.
1F3.1 Works which have titles but cannot be identified
Usually supply an introductory word such as "Unidentified," followed by a descriptive category such as collection name, production company, genre, etc. When there is more than one work in the same descriptive category, use a number to distinguish them.
If a title is questionable, include a question mark within the brackets. Give the source of the probable or questionable title and any other relevant information in a note.
245 00 $a [Unidentified Tusler Collection. $p A writer's dream]. 500 ## $a Title from donor inventory. $5 DLC (If applicable, use institution's local code.) (This is the only unidentified work in the Tusler Collection.) 245 00 $a [Unidentified Biograph. $n No. 1, $p Oh, the sweet angel]. 245 00 $a [Unidentified Biograph. $n No. 2, $p After Jack's marriage]. 245 00 $a [Unidentified western. $p Under western skies?]. 246 30 $a Under western skies 500 ## $a Tentative title from paperwork and can of original nitrate material. $5 DLC (If applicable, use institution's local code.)
The name of a cast member or production company, a genre or other significant information may also be used as part of a descriptive phrase. 245 00 $a [Unidentified Dawson City Collection. $n No. 69, p Pathe drama--Avenged by the sea]. 246 30 $a Avenged by the sea 500 ## $a Title on film, Avenged by the sea, may be interior title or main title. 245 00 $a [Unidentified Reitsma Collection. $n No. 9, $p Tom Mix comedy]. 245 00 $a [Unidentified Méliès?. $n No. 4, $p Comedy--two thieves rob house, outwit police and judge]. 245 00 $a [Unidentified travelog. $p Greenland expedition]. 245 00 $a [Unidentified early local television. $p Quiz show]. 245 00 $a [Unidentified Glass Collection. $n No. 2, $p Early balloon footage].
1F3.2 Multiple works with no predominant part
If a work containing multiple works has no collective title and no one work is predominant and there are too many works to describe separately, supply a title for the work as a whole. The supplied title may be either a descriptive phrase alone, or a descriptive category followed by a descriptive phrase. Individual archives should develop guidelines for determining how many separate works are too many to describe separately. For placement of credits, see 1G1.
For archives choosing to make analytical title added entries from contents notes, see Appendix D, M/B/RS Policy on Uniform Titles. 245 00 $a [Hawaiian Islands]. 500 ## $a A compilation of twenty-six films, some of which were individually copyrighted by Thomas A. Edison in 1906, and later released by George Kleine in his series: Scenes and incidents in the Hawaiian Islands. 505 0 $a Panoramic view, Waikiki Beach, Honolulu, Hawaiian Islands (43 ft.) -- Kanaka fisherman casting a "throw net," Hilo, Hawaiian Islands, (c) 13Novl906, H85061 (62 ft.) -- S.S. 'Kinau' landing passengers, Laupahoihoi, Hawaiian Islands, (c) 13Novl906, H85054 (35 ft.). 245 00 $a [Unidentified Los Angeles County Museum. $n No. 1, p Lumière]. 500 ## $a Includes 58 separate Lumière films; unable to verify completeness. For tentative identifications and more complete descriptions of technical problems, see papers in Los Angeles County Museum Collection file.
For a work consisting of several separately titled works and lacking a collective title, see 1B3.2.
1F3.3 Works which may never have had titles, are not associated with titled work and do not belong in a form term descriptive category
For works which may never have had legitimate titles, supply a descriptive phrase as the title proper. Include important elements such as personalities, events, dates, places, subjects, etc., as they apply, in the descriptive phrase. 245 00 $a [World War I patriotic messages]. 245 00 $a [Ads and tours of Seattle industry]. 245 00 $a [Papua New Guinea--Iatmul people, 1938, field footage. n Roll 11]. 245 00 $a [Children playing].
When describing a work produced by an amateur and the subject matter is not personal or family events, but rather is a public occasion, the name of the amateur is not included in the title. If there is no title on the work or on accompanying documentation, supply a descriptive title and enclose it in brackets. 245 00 $a [Eruption of Mt. St. Helens].
Optionally, include the name of the amateur in the supplied title if the amateur's name has become well-known in association with the material. For placement of the amateur's name in the statement of responsibility, see 1G5.2. 245 00 a [Zapruder film--assassination of John F. Kennedy].
1G. Statement of responsibility
Introduction
A statement of responsibility is a statement from the material being cataloged, accompanying material, or from secondary sources, which relates those corporate bodies and persons credited with participation in the original production of a moving image work and who are considered to be of major importance to the work. Credits and their functions are synonymous with the concept of statement of responsibility.
Because responsibility for moving image materials is most often complex and highly diverse, archives should determine the types of credits they wish to include in this area. These credits may vary from institution to institution according to the types of moving image material. For example, an archive holding television material might consider the function of producer more important than that of director.
Give companies or persons in the statement of responsibility when they have made an important contribution to a particular work, but whose type of responsibility is one that may not be considered major in other types of work. Archives may choose to be liberal about including persons or bodies whose responsibility is important in relation to the content of the work, i.e., give such important people and bodies in the statement of responsibility even though they may have only partial responsibility. For instance, the choreographer may be given in statement of responsibility for a work that is mostly or wholly dance.
Standard cataloging practice for archival moving image material is to give the production company as the first statement of responsibility. With some exceptions, such as amateur-produced material and the instances in which an individual does in fact perform all production activities, the production company is responsible, in a broad sense, for the overall creation of the work. The production company often serves as the coordinating body responsible for the participation of all persons and other companies in the production of a moving image work.
When there is a conflict between how a personal name appears on the work and how it appears in secondary sources, use the name that appears on the work in the statement of responsibility, unless research has proven this name to be incorrect. See 0B and 0F.
1G1. Choice and placement of credits
Record statements of responsibility relating to those persons and bodies credited with participation in the original production of a moving image work who are considered to be of major importance, and who have some degree of overall responsibility for the work. Examples of important credits that indicate some degree of overall responsibility for the work include, but are not limited to: production companies, sponsor, companies credited with various types of co-production, director, producer, screenwriter, animator. Credits may appear anywhere on the work.
Choose the credit terms found on the work unless secondary research proves them to be inaccurate or unless such transcription would result in lack of clarity. However, for non-English language moving image works, use the English language terms for these functions if there is a direct translation for the credit terms. When there is uncertainty as to the translation of the credit term, use the terminology as it appears on the work or other sources. See 0E.
Optionally, use credit terms transcibed from the work itself or secondary sources in the language and script, wherever feasible, in which they appear.
Do not transcribe place name after the name of a company unless it is an integral part of the company's name.
Optionally, include the place name after the name of the company. Separate the company from the place name with a comma, space punctuation.
When a credit term is probable, bracket the term. If it is great questionable, include a question mark in the brackets. If it is necessary to supply a credit term, see 1G1.1. 245 00 $a City of Angels. $p The castle of dreams / c a Roy Huggins/Public Arts Production in association with Universal ; director, Robert Douglas ; producers, Philip DeGuere, Jr., William F. Phillips ; teleplay, Stephen J. Cannell, Philip DeGuere, Jr. 245 00 $a Claymation : $b three dimensional clay animation / c Will Vinton Productions ; director-animator, Will Vinton ; producer and writer, Susan Shadburne ; animators, Barry Bruce, Don Merkt. 245 00 $a All in the family. $p The joys of sex / c a Bud Yorkin-Norman Lear Tandem Production ; director, Paul Bogart ; producer, Milt Josefsberg ; developed by Norman Lear ; writer, Erik Tarloff. 245 00 $a Great performances. $p Dance in America. $p Martha Graham Dance Company / c WNET/13, New York ; director-series producer, Merrill Brockway ; producer, Emile Ardolino ; choreographed and reconceived for TV by Martha Graham. 245 00 $a Men of bronze / c The Men of Bronze, Inc. ; producer-director-researcher, William Miles ; [narration writer?], Nancy K. Robinson.
Statements of responsibility should be recorded whether or not they appear on the work in hand. Sources for statements of responsibility which do not appear on the work in hand should be recorded in the note area. See 7B, 7B9 and 7B25.
When the name of a television station is used in the statement of responsibility do not transcribe place name after the name of a company unless it is an integral part of the name. 245 00 $a Great performances. $p Dance in America. $p Martha Graham Dance Company / c WNET/13 ; director-series producer, Merrill Brockway ; producer, Emile Ardolino ; choreographed and reconceived for TV by Martha Graham.
Optionally, include the place name after the name of the company. Separate the company from the place name by using a comma, space punctuation. 245 00 $a Great performances. $p Dance in America. $p Martha Graham Dance Company / c WNET/13, New York ; director-series producer, Merrill Brockway ; producer, Emile Ardolino ; choreographed and reconceived for TV by Martha Graham.
Additional statements of responsibility not recorded in the statement of responsibility area, e.g., associates, assistants, art directors, co-producers, may be included in notes. See 7B5 for instructions on structuring credit notes. Cast members may be recorded in a separate participants or performers note. See 7B6. 245 04 $a The contest kid strikes again / c ABC, Inc. ; director, Harvey S. Laidman ; producer, Robert Chenault ; writers, Jim Carlson, Terrence McDonnell. 508 $a Music, John Cacavas ; editor, Peter Parasheles. 511 1 $a Patrick Petersen, Alan Napier, Ronnie Scribner.
Optionally, if one person is solely responsible for more than one function recorded in the statement of responsibility, the terms describing the functions can be combined and the name given once. If performed by the same person, these functions may include positions, such as editor or photographer, usually given in the credits note rather than in the statement of responsibility. See 7B5. 245 04 $a The brother from another planet / c A-Train Films ; director-writer-editor, John Sayles ; producers, Peggy Rajski, Maggi Renzi. 508 $a Director of photography, Ernest R. Dickerson ; original score, Mason Daring.
Persons credited as co-producers should be placed in a credit note, unless it has been determined that they are performing the production company function or no producer is found for the work, in which case co-producers should be placed in the statement of responsibility. See also 7B5. 245 00 $a Skyscraper / c PM Entertainment Group, Inc. ; directed by Raymond Martino ; co-producer, Scott McAboy ; written by William Applegate, Jr., John Larrabee. (No producer found for this work.) 245 00 $a East of Eden. $n Part 1 / c a Mace Neufeld production ; directed by Harvey Hart ; produced by Barney Rosenzweig ; written for television by Richard Shapiro. 508 $a Co-producer, Ken Wales ; edited by Michael Brown and William Brame ; music by Lee Holdridge.
Depending upon their relationship to the work, credits such as "story by" and "adapted by" may be placed in the statement of reponsibility, the credits note or in a general note. See also 7B5. 245 00 $a Kraft television theatre. $p Rip Van Winkle / c NBC Television ; adapted by R.H. Lindsay. 245 00 $a Beloved / c Universal Pictures ; directed by Victor Schertzinger ; produced by Bennie F. Zeidman and Carl Laemmle, Jr. ; screenplay by Paul Gangelin and George O'Neil. 508 $a Story, Paul Gangelin ; film editor, Edward Curtiss. 245 04 $a Four star playhouse. $p The gift / c Four Star Productions ; directed by Robert Aldridge ; produced by Charles Boyer ; teleplay by John Bagni and Gwen Bagni. 500 ## $a From a story by Amory Hare.
When the production functions are performed by an individual rather than a company, give a personal name instead of a company name as the production company. 245 00 $a Creation / c by Stan Brakhage.
For placement of statement of responsibility for versions, see Chapter 2.
1G1.1 Supplied credit terms
It is often difficult to identify the function or type of responsibility which the named persons or bodies hold with respect to the moving image work. It is important to clarify as much as possible the relationship between the credits and the work. See 1G3. If possible, make the relationship between credits and the work clear by supplying a credit term in brackets, based on research and good judgement. As instructed in 1G1, if it is great questionable, include a question mark in the brackets. 245 00 $a Infancy ; $b Childhood / c [written by] J. Thornton Wilder.
In some cases, the function which a credited person or body performs is not stated on the work, and cannot be determined through secondary research. In such instances, the term "function undetermined" should be supplied in brackets to provide greater clarity. Generally corporate bodies with unknown functions should be included in the statement of responsibility area, while personal names with similarly unidentified functions should be included in the credits note. See 7B5. 245 00 $a Wilfred and the dancing bear / c Coronet ; [function undetermined], Winstar, Ltd.
When no corporate body or person can be identified that performs the production company function, supply the phrase, "production company unknown" enclosed in square brackets. 245 00 $a [Unidentified Duckworth. $n No. 1, $p Comedy with magic tricks] / c [production company unknown].
1G2. Order of credits
The production company(ies) or person(s) who performs the production company function is always the first statement of responsibility for moving image material. With that exception, the order of the statements of responsibility should be determined by the requirements of individual archives. Give the credits as they appear on the work or in secondary sources. Follow the production company credits with personal name credits. Separate different functions using the space, semicolon, space punctuation.
Optionally, give the statements of responsibility in the following order: production company(ies) or person(s) that performs the production company function or compiler, sponsor, companies or persons credited with various types of co-production, director, producer, screenwriter, and animator. 245 04 $a The patsy / c Metro-Goldwyn-Mayer ; director, King Vidor ; continuity, Agnes Christine Johnston. 245 00 $a NBC reports. $p Trouble in coal country / c National Broadcasting Company, Inc. ; director-producer, Fred Flamenhaft ; writer, Douglas Kiker.
1G3. Ambiguous credits
In some cases, the same credit term has been used for differing functions during different periods of history, in different parts of the moving image industry, and by archives using the same language in different countries. Special care should be taken to clarify functions in these cases, and the placement of such credits will normally depend upon this clarification.
1G3.1 Sponsors
A sponsor is an organization for which a film is made by contract for furtherance of public relations or similar purposes. Bodies which provide major funding are not necessarily sponsors of a work. Use care to determine whether a provider of major funding is actually a sponsor or simply an organization providing financial support (e.g., grants) to the filmmakers.
If a statement of responsibility names both the production company and the sponsor, give the production company first. Use the terminology on the work unless it is misleading. It is often difficult to distinguish bodies whose contribution is significant from those whose participation is minor. Minor contributors may be cited in a note. See 7B8. Sponsors recorded in the statement of responsibility area do not include sponsors of individual commercials that appear within a program. These may also be cited in a note. See 7B8. 245 00 $a Jotham Valley / c Harmony Film Productions, Ltd. ; Moral Re-Armament presents ; transferred from stage to screen in its original form by Paul Czinner after his own method and under his direction. 245 00 $a Passing, being passed, and the oncoming driver / c Jack Lieb Productions, Inc. ; presented by the National Safety Council.
If the nature of an organization's contribution to a work cannot be determined, place the information in a general note. 245 00 $a H.R. 6161, an act of Congress / c Guggenheim Productions, Inc. ; producer-director, Charles Guggenheim ; narration writers, Charles Guggenheim, Robert L. Peabody, Clinton McCarty. 500 ## $a Program made possible by grants from the National Endowment for the Humanities and Westinghouse Corporation; supported in part by a grant from the National Endowment for the Arts.
1G3.2 Presenters
The use of the credit term "presents" has been and continues to be ambiguous. Often the term is used to denote the distribution company as in example D. See Chapter 4. Sometimes, however, it is used to refer to the production company. See example B. Corporate bodies whose function cannot be determined should generally be placed in the statement of responsibility area. See example C. Personal credits which have uncertain meanings should be included in the credit note area. See example A.
If the precise function for presenter, or any other credit, has been determined, include it in brackets after the credit that appears on the work. See example F. However, if the credit is misleading or inaccurate, substitute the correct credit and enclose it in brackets. See example G.
Example A
(1) On work: "Adolph Zukor and Jesse L. Lasky Present".
(2) Determination (based on research in secondary sources): Vanity credit for heads of a studio. See 1G3.3.
(3) Placement of credit: credit note area. 508 $a Presenters, Adolph Zukor, Jesse L. Lasky.
Example B
(1) On work: "Presented by Handmade Films".
(2) Determination (based on research in secondary sources): production company.
(3) Placement of credit: Statement of responsibility area. 245 00 $a Time bandits / c Handmade Films.
Example C
(1) On work: "Presented by Wolkenfar Films".
(2) Determination: function cannot be determined precisely, but does not appear to be the same as distribution.
(3) Placement of credit: statement of responsibility area. 245 00 $a Jeremy rides again / c Linder Productions ; presented by Wolkenfar Films.
Example D
(1) On work: "Presented by Paramount Pictures".
(2) Determination (based on accompanying documentation and research in secondary sources): distributor.
(3) Placement of credit: distribution area. 245 00 $a American gigolo / c a Freddie Fields production ; producer, Jerry Bruckheimer ; director-writer, Paul Schrader. 257 $a United States. 260 $a United States : $b Paramount, c 1980.
Example E
(1) On work: "Anatole Dauman presents".
(2) Determination: function cannot be determined, nor can Anatole Dauman be identified as a corporate body.
(3) Placement of credit: credit note area. 508 $a Presenter, Anatole Dauman.
Example F
(1) On work: "Presented by J. C. Penney".
(2) Determination (based on accompanying material and research in secondary sources): Function is that of sponsor. Include the credit term from the work and the precise credit term in brackets.
(3) Placement of credit: statement of responsibility area. 245 00 $a 1900--the year time changed / c Lebowitz Films, Inc. ; presented by [sponsored by] J.C. Penney ; written & produced by Mary P. Manilla.
Example G
(1) On work: "a production of the National Fire Protection Association".
(2) Determination (based on accompanying material): function is that of sponsor; wording on film is misleading.
(3) Placement of credit: statement of responsibility area. 245 00 $a Fire at the M-G-M Grand : $b hotel fire survival / c Chester-Barley Film ; [sponsor], the National Fire Protection Association.
1G3.3 Vanity credits
The function of persons or corporate bodies receiving "vanity credits" can also be difficult to determine. If a person or body named in a "vanity credit" has not made a major contribution to the creation of the work (for example, the head of a motion picture studio may receive a "vanity credit" on every film the studio makes), the name may be omitted or placed in a credit note. See 7B5.
(1) On work: "Adolph Zukor and Jesse L. Lasky Present".
(2) Determination (based on research in secondary sources): Vanity credit for heads of a studio. See 1G3.3.
(3) Placement of credit: credit note area. 508 $a Presenters, Adolph Zukor, Jesse L. Lasky.
When the "vanity credit" simply repeats the name of a person or body whose function has already been determined, it is not neccessary to repeat the credit.
(1) On work: "a Don Simpson/Jerry Bruckheimer production"; "produced by Don Simpson and Jerry Bruckheimer".
(2) Determination: producers.
(3) Placement of credit: statement of responsibility area. 245 00 $a Dangerous minds / c Hollywood Pictures ; Via Rosa Productions ; directed by John N. Smith ; produced by Don Simpson and Jerry Bruckheimer ; screenplay by Ronald Bass.
The placement of other credits which may appear to be "vanity credits" will depend on the clarification of the exact function of that person or body.
1G3.4 Trade names
A trade name is a generic designation that is neither the actual name of a corporate body nor a specific series name, e.g., "A Triangle Comedy". For placement of trade names, see 7B7. For series-like phrases, see 6L.
1G4. International co-productions
Punctuation: Do not use hyphens to separate two or more company names. Instead use the comma, space punctuation. Alternatively, separate the names of two companies with a slash (with spaces closed up on both sides), or with the word "and" enclosed in brackets.
For non-English language moving image works, use the English language credit terms. See 1G1.
Optionally, use credit terms transcibed from the work itself or secondary sources in the language and script, wherever feasible, in which they appear.
For international co-productions, the order of the production companies should be established using one of the following methods in this order of preference:
1. Record the production companies in the order that they appear on the work.
2. If the production companies do not appear on the work or the work is not viewed, record the companies in the order that they appear on accompanying documentation or in secondary sources.
3. If some of the production companies do not appear on the work, or if secondary sources conflict, record the countries of production in alphabetical order. Then record the companies in the same order as the countries of production. See 3C5.
Optionally, individual archives may establish a different order for recording companies of co-production. 245 00 $a Coup de grâce / c Argos films, Bioskop Film ; director, Volker Schlöndorff ; producer, Eberhard Junkersdorf ; screenplay, Genevieve Dormann, Margarethe von Trotta, Jutta Bruckner. 250 $a [French language version]. 257 $a France ; West Germany. 260 $a [France : $b [s.n.], c 1976] ; a West Germany : b Cine-International Filmvertrieb, c 1976. 500 ## $a German language version also released under the title, Der Fangschuss. 245 03 $a La guerre du feu / c Belstar Productions/Stephan films ; ICC/Cine-Trail ; in association with The Gruskoff Organization ; directed by Jean-Jacques Annaud ; produced by John Kemeny and Denis Héroux ; screenplay by Gérard Brach. 250 $a [French language version] 257 $a France ; Canada ; [United States]. 260 $a France : $b AMLF, c 1981 ; a Canada : $b Twentieth Century-Fox, c 1982 ; a United States : $b Twentieth Century-Fox, c 1982. 500 English language version also released under the title, Quest for fire.
Optionally, for international co-productions, make relationships of the companies and their countries clear by adding the name of the country in parentheses after the company.
245 03 $a La guerre du feu / c Belstar Productions/Stephan Films (France) ; ICC/Cine-Trail (Canada) ; in association with The Gruskoff Organization ([United States]) ; directed by Jean-Jacques Annaud ; produced by John Kemeny and Denis Héroux ; screenplay by Gérard Brach. 250 $a [French language version]. 260 $a France : $b AMLF, c 1981 ; a Canada : $b Twentieth Century-Fox, c 1982 ; a United States : $b Twentieth Century-Fox, c 1982. 500 English language version also released under the title, Quest for fire.
1G5. Compilations, amateur footage of public events, home movies, trailers, etc.
1G5.1 Compilations
A compilation is a work with a distinct organization using existing footage from other moving image materials. Compilations may include published or unpublished works. It may contain whole works, parts of works or both. Some works may have a collective title or each work may have a separate title with no collective title. Some compilations have no title at all. Archives may need to place credits differently, depending upon the type of compilation and the needs of the archive and its users. The following instructions should serve merely as guidelines.
Compilations of whole works without a collective title
If the individual works in a compilation without a collective title (see also option in 1B3.2) have been deliberately compiled into a package for distribution by the same persons or corporate bodies, the compiler(s) should follow the title proper, parallel titles, and/or other title information in the statement of responsibility. Any credits associated with the individual works may be placed in a general note. 245 04 $a The Normandy invasion ; The victory / c compiled by Goodtimes Home Video. 500 ## $a The Normandy invasion and The victory were originally produced by Thames TV. 245 00 $a Infancy ; $b Childhood / c [J. Thornton Wilder.
If no compiler(s) is found to be associated with the compilation, and the individual works are by different persons or emanate from different corporate bodies, the credits for individual works should follow their individual titles in the statement of responsibility. Separate the groups of data with a period followed by two spaces. 245 04 $a The Truman story / c Greenwood Productions. They're in the army now / Creative Associates, Inc.
Compilations of whole works with a collective title
If the individual works in a compilation with a collective title (see also 1B2) have been deliberately compiled into a package for distribution by the same persons or corporate bodies, the compiler(s) should follow the title proper, parallel titles, and/or other title information in the statement of responsiblity. Any credits associated with the individual works may be placed in a contents note following the space, slash, space punctuation. See 7B28. 245 00 $a Popples. $n Vol. 1. / c a Platypus production. 505 0 $a Popples. Treasure of Popple Beach / produced by Jean Chalopin and Tesuo Katayama -- Popples. Poppin' at the beach / produced by Jean Chalopin and Tesuo Katayama.
Compilations of parts of works without a collective title
In a compilation which has no predominant part and consists of parts of different works (see also 1F3.2), credits for the individual works in the compilation should be placed in the contents note following the space, slash, space punctuation. See 7B27. The compiler(s) should follow the title proper, parallel titles, and/or other title information in the statement of responsiblity. 245 00 $a [Ginger Rogers dance compilation]. 505 0 $a [Flying down to Rio--excerpt] / RKO Radio Pictures ; director, Thornton Freeland (374 ft.) -- [The gay divorcee--excerpt] / RKO Radio Pictures ; director, Mark Sandrich (508 ft.) -- [Top hat--excerpt] / RKO Radio Pictures ; director, Mark Sandrich (150 ft.).
1G5.2 Amateur footage of public events
For amateur footage of public events, the name of the amateur should be included in the statement of responsibility. If no credit term is given, supply the word "by" enclosed in brackets, whether or not the name also appears in the title. See also 1F3.3. 245 00 $a [Zapruder film--assassination of John F. Kennedy] / c [by] Abraham Zapruder.
1G5.3 Home movies
For home movies, omit the statement of responsibility area unless someone other than the person in the title is responsible for the work. See also 1F2. For definition, see Appendix G, Glossary. 245 00 $a [Meyer, Eugene and Agnes--home movies. $p Family camping trip in the Canadian Rockies].
1G5.4 Trailers
For trailers, use only the credits pertaining to the trailer. Credits appearing on a trailer are usually for the feature of the same title. Do not use any credits appearing on a trailer unless it has been verified that these credits are specifically for the trailer. Use the production company, if known. However, since the company appearing on a trailer is usually the distribution/releasing company for the film and not the production company for the trailer, generally use the phrase "production company unknown" in brackets in the statement of responsibility. Visual or audio identification of cast is acceptable as long as they appear in the trailer. Cast members should be recorded in a separate cast note. See 7B6 for instructions on structuring cast notes. See also 1E3. For definition, see Appendix G, Glossary. 245 04 $a The Beverly hillbillies : $b [trailer] / c [production company unknown]. 511 1 $a Cloris Leachman, Lily Tomlin, Dabney Coleman. 500 ## $a Cast credits from visual recognition.
1G5.5 Outtakes and trims
For outtakes and trims, use the production company of the work from which they are taken in the statement of responsibility. Visual identification of cast is also acceptable. See also 1E3. For definitions, see Appendix G, Glossary. 245 00 $a Robin Hood : $b [outtakes] / c Apex Films.
1G5.6 Excerpts and clips
For excerpts and clips, use the credits of the work from which they are taken, i.e., treat them as incomplete parts of the original. See also 1E3. For definitions, see Appendix G, Glossary. 245 00 $a Wings : $b [clips] / c Paramount Famous Lasky Corporation ; director, William Wellman ; producer, Lucien Hubbard. 511 1 $a Clara Bow, Charles Rogers. 500 ## $a Production and cast information from catalog record for the feature, Wings.
Materials which are known to have been deliberately excerpted and published as such should be treated as versions. See Chapter 2.
1G5.7 Episodes of television series with separately titled segments
When an episode of a television series has more than one segment, each of which is separately titled, place the credits for the episode as a whole in the statement of responsibility following the space, slash, space punctuation and/or in the credits and cast notes. See also 1B1.1.3, 7B5 and 7B6.
Credits for individual segments may be placed in a contents note. See 7B28. 245 00 $a Fantasy Island. $p Cowboy [and] The substitute wife / c a Spelling-Goldberg production in association with Columbia Pictures ; directed by Arnold Loven ; producer Arthur Rowe ; series created by Gene Levitt. 508 $a Director of photography, Emmett Bergholz ; music by Charles Albertini. 511 0 $a Cast for series: Ricardo Montalban, Herve Villechaize. 505 0 $a Cowboy / written by Robert Earll ; cast, Hugh O'Brian, Peter Breck -- Substitute wife / written by Ron Friedman ; cast, Jayne Meadows Allen, Peter Lawford, Sherry Jackson, Hans Conreid.
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