DRAFT, 12/01/1998
7. NOTE AREA
Contents
7A. Preliminary rule
7A1. Punctuation
7A2. Sources of information
7A3. Form of notes
7A4. Combining notes
7A5. Order of notes
7B. Notes
7B1. Viewing
7B2. Language
7B3. Source of title proper
7B4. Variant and other titles
7B5. Credits
7B6. Participants or performers
7B7. Trade names
7B8. Sponsors
7B9. Clarification of statements of responsibility
7B10. Copyright registration information
7B10.1. Multiple copyright registrations
7B10.2. Unprotected materials
7B10.3. Copyright status unknown or unverified
7B11. History of production, distribution, release, broadcast
7B12. Country of production
7B13. Incomplete works
7B14. Length or running time
7B15. Sound characteristics
7B16. Color characteristics
7B17. Technical information
7B18. Multiple copies
7B19. Projection characteristics or video playback mode
7B20. Preservation
7B21. Accompanying material
7B22. Series
7B23. Dissertations
7B24. Users/Intended audience
7B25. Reference sources and reviews
7B26. Other available formats
7B27. Summary
7B28. Contents
7B29. Numbers associated with the work
7B30. Holdings
7B31. With notes
7B32. Genre and form terms
7B33. Censorship
7B34. Awards
7B35. Rating designations
7B36. Collection
7B37. Restrictions on access
7B38. Terms governing use
7B39. Source of acquisitions/Provenance
7B40. Location of related materials
7B41. Publications
7A. Preliminary rule
7A1. Punctuation
For general instructions on prescribed punctuation, see 0C.
Separate introductory wording from the main content of a note by a colon and a space.
For punctuation within notes, follow the prescribed punctuation as provided in the rules. If there is no guidance, then exercise judgment in the forms of punctuation used.
End this area with a period except if a note contains an institution's local code.
7A2. Sources of information
See 0B.
7A3. Form of notes
Abbreviations: Do not begin notes with a numeral or single letter abbreviations.
Quotations: Give quotations from the work or from other sources in quotation marks. Follow the quotation by an indication of its source, unless that source is the work itself. Do not use prescribed punctuation in quotations.
Optionally, do not use quotation marks.
Formal notes: Formal notes use a standard introductory word or phrase. Do not use abbreviations for introductory words or phrases.
Informal notes: When making informal notes, use statements that present the information as briefly as possible.
Copy specific information: If the information recorded in a note applies only to the copy held by the archive, then the note should be designated as local by using the institution's local code, if applicable.
500 ## $a LC holds the director's cut version (viewing copy) and
the original release version (ref print). $5 DLC
(If applicable, use institution's local code.)
7A4. Combining notes
When appropriate, combine two or more notes to make one note. If any of the information is copy specific, designate the note as local by using the institution's local code, if applicable.
500 ## $a This director's cut version contains footage not
included in the original release and a new ending; LC
holds the director's cut version (viewing copy) and the
original release version (FGC 2122-2130). $5 DLC
(If applicable, use institution's local code.)
7A5. Order of notes
When recording notes which further describe data elements already found in the description, follow that sequence wherever possible, e.g., title, statement of responsibility, version, edition, distribution, etc., copyright statement, physical description, series. The order of the notes in this chapter do not strictly follow that order of data elements.
7B. Notes
Notes should be made when information is uncertain or unknown or when sources of information conflict. Notes relating to titles should always be included, except for cataloger-supplied titles. Make a note to justify title added entries and to cite the source for a summary, which is completely or partially quoted. All other notes are optional.
It is not necessary to make a note simply to cite a source for information not taken from the work being cataloged or for cataloger-supplied information. Notes may also be given when additional explanation is needed. All reference sources consulted for cataloging may be consolidated in one note. See 7B25. If there is no specific note to record information, put the information in a general note.
Optionally, an archive may deem it necessary to make notes about each data element not taken from the work being cataloged.
7B1. Viewing
Indicate in a note whether or not a moving image work is viewed in the process of cataloging.
500 ## $a Videocassette not viewed; physical description from
data sheet supplied by distributor.
If only portions of a moving image work are viewed, such as the credits, in the process of cataloging, clarify this in a note.
500 ## $a Viewed for credit sequences only.
7B2. Language
Give the language or languages of the spoken, sung, or written content of a moving image work unless they are only the language(s) of the archive.
546 ## $a In Arabic with English subtitles.
546 ## $a Dubbed from Japanese into English.
546 ## $a Head title, credits, and preface in French; dialogue in
special languages created by Anthony Burgess.
546 ## $a Optical track in English; simultaneous magnetic stripe
track in French.
7B3. Source of title proper
Make notes on the source of the title proper if it does not appear on the work.
500 ## $a Title from Moving picture world, v. 3, p. 122. 500 ## $a Title supplied by Elizabeth Meyer. 500 ## $a Tentative title from label on nitrate can. $5 DLC (If applicable, use institution's local code.)
7B4. Variant and other titles
Record in a note titles other than the title proper or parallel titles found on the work, its container, accompanying material, or secondary sources. For varying form of title, see 1A4.
500 ## $a Incorrect title spliced on film: Days of glory. $5 DLC
(If applicable, use institution's local code.)
500 ## $a Working title: Heaven and hell.
500 ## $a Inventory list title: Talk with Jimmy.
500 ## $a Title on can: Money. $5 DLC
(If applicable, use institution's local code.)
500 ## $a Variant titles: Paradise, from Moving picture world, v.
12, p. 72 and Paradise and purgatory, from Moving
picture world, v. 12, p. 98, 253.
500 ## $a Mad about money is U.S. release title.
7B5. Credits
List persons who have contributed to the off-screen production of a moving image work in a function not already recorded in the title and statement of responsibility area. If one person is solely responsible for more than one credit function and one of them is recorded in the title and statement of responsibility area, then the terms describing the functions can be combined and the name given once there. See 1G1.
Record the credit function followed by the name of the person performing it as they appear on the work or in secondary sources. For non-English language works, use the English language term for these functions if there is a direct translation for the credit term. When it is uncertain if there is a direct translation of the credit term, use the terminology as it appears on the work or in secondary sources. See 0E and 1G1.
508 ## $a Editors, Robert C. Jones, Don Zimmerman.
508 ## $a Executive producers, Tom Kalin, Christine Vachon ;
cinematography, Ann T. Rossetti ; original score by
Brendan Dolan, Jennifer Sharpe.
Optionally, use credits transcribed from the work itself or secondary sources in the language and script, wherever feasible, in which they appear.
Optionally, record the name followed by the credit function.
When a credit term is probable, bracket the term. If it is questionable, include a question mark in the brackets. If no precise credit function can be determined, use the term "function undetermined" enclosed in brackets.
When a personal or company name credit is probable, bracket the name. If it is questionable, include a question mark in the brackets.
508 ## $a Associate producers, Ronald L. Weaver, Julie Martin ;
cinematographer, Michael Livesay ; supervising film
editor, [Nick Masci] ; music supervisor, Ethel Huber ;
still photographer, Stephen Paley ; executive producer,
[George Dessart?] ; [researcher?], Mary Gay Heckman ;
[function undetermined], Wilfred White.
7B6. Participant or performer
List persons and/or animals who have participated or performed in a moving image work. Make separate notes for each specific type of participant and/or performer, such as cast, performer, narrator, or anchor. Some of the participants or performers may not appear onscreen, such as voice-over narrator or actors performing voices in an animated work.
Record the credit term as it appears on the work or in secondary sources followed by a colon. Following the credit term, record the name of the participants or performers as they appear on the work or in secondary sources. For non-English language works, use the English language term for these terms if there is a direct translation. When it is uncertain if there is a direct translation, use the terminology as it appears on the work or in secondary sources. See 0E and 1G1.
511 1# $a Marion Shilling, Gaylord Pendleton, Reb Russell, Eddie
Phillips, Ted Stroback, Bruce Mitchell, Lloyd Ingraham,
Henry Hall, Captain (a dog).
511 0# $a Voices: Peter Ustinov, Cloris Leachman, Sally
Kellerman, Andy Devine, John Carradine, Alan Barzman.
511 0# $a Narrator: Orson Welles.
Optionally, use credit terms transcribed from the work itself or secondary sources in the language and script, wherever feasible, in which they appear.
Optionally, include the name of the character in parentheses following the name of the cast member.
When a credit term is probable, bracket the term. If it is questionable, include a question mark in the brackets. If no precise credit function can be determined, use the term "function undetermined" enclosed in brackets.
When a personal or company name credit is probable, bracket the name. If it is questionable, include a question mark in the brackets.
511 0# $a [Instructor?]: Abraham Rappaport.
511 1# $a Anne Baxter (Louise), Maria Perschy (Angela), Gustavo
Rojo (Bill), Reginald Gilliam (Mr. Johnson), [Catherine
Elliot?] (Aunt Sallie), Ben Tatar (waiter).
7B7. Trade names
A trade name is a generic designation that is neither the actual name of a corporate body nor a specific series name. When a trade name appears, give it in a note. See 1G3 and 6L.
500 ## $a The trade name "A Triangle comedy" appears on title
frame.
7B8. Sponsors
For television programs which have commercials or public service announcements included within the program, indicate their presence generically in a note.
500 ## $a Program includes commercials and public service
announcements. $5 DLC
(If applicable, use institution's local code.)
Optionally, give the names of the specific sponsors, products, services, or messages being promoted in a note.
500 ## $a Program includes commercials for IBM and All detergent.
$5 DLC
(If applicable, use institution's local code.)
Record the sponsors of moving image works not already recorded in the title and statement of responsibility area in a note. See 1G3.1.
500 ## $a Funding provided by the Massachusetts Council on the
Arts and Humanities.
7B9. Clarification of statements of responsibility
Give notes to clarify statements of responsibility usually in the order in which they appear in the description, such as when the credits on a work conflict with secondary sources.
500 ## $a Sources conflict on the attribution of production
company function to Universal; some list only Groverton
Productions in that capacity.
500 ## $a Director's name varies in different sources; Variety,
v. 89, p. 75, and New York times film reviews list
director as Eugene Smallwood; Film daily yearbook, 1943
lists director as John Belldorfer.
500 ## $a The Cosmopolitan Productions logo appears on title
frame.
500 ## $a Footage probably taken by Agnes Meyer, according to
notes accompanying film.
500 ## $a Jan Murray listed as composer on credits; Newton
herald, 7/11/1969 gives Buddy Hackett as composer.
7B10. Copyright registration information
Record copyright registration information in a note if it is considered of importance to the archive. If rereleases or reissues are copyrighted separately from the original work, then make additional copyright notes for each. For copyright registration information for versions and editions, see 2F.
Punctuation: The copyright statement note should follow the order and format of the copyright documentation of the country of registration.
The first element of the copyright statement note is the word "Copyright" followed by a colon. Do not include the name of the country of registration.
500 ## $a Copyright:
Optionally, use a "c" enclosed in parentheses, (c), or the copyright symbol, ©, as the first element of the copyright statement. Follow the © or © by a colon.
Optionally, include the name of the country to which the statement refers following the introductory word, copyright and a colon. Follow the name of the country by a space, colon, space.
500 ## $a Copyright: United States : Twentieth Century Film
Corporation.
Record the copyright registration information in the same order and format as it appears in the copyright documentation.
500 ## $a Copyright: Monogram Pictures Corp.; 2Oct39; LP9166.
500 ## $a Copyright: Twentieth Century Fox Film Corporation. DCR
1979; 1979; PUB 18Sep79; REG 25Nov8O; PA89-508.
Optionally, the archive may choose to omit portions of lengthy copyright statements. Such omissions do not require ellipses.
7B10.1. Multiple copyright registrations
If there are multiple copyright registrations for the work, give each registration in a separate copyright statement note.
500 ## $a Copyright: Columbia Pictures Industries, Inc.; 4Jan71;
LP40478.
500 ## $a Copyright: Columbia Pictures Industries, Inc.; 4Jan72;
LP40746.
7B10.2. Unprotected materials
If research has verified that the work is not registered for copyright, indicate that information in the copyright note.
500 ## $a Copyright: no reg.
If the work has not been registered for copyright, but a copyright notice appears on the work or associated documentation, record the name and date in a note.
500 ## $a Copyright: unknown. 500 ## $a Copyright notice on film: Toho ; 1952.
7B10.3 Copyright status unknown or unverified
If the copyright for the work has been researched and the status remains unknown, then use the term "unknown" in the copyright note.
500 ## $a Copyright: unknown.
If the copyright for the work has not been researched, then use the term "unverified" in the copyright note.
500 ## $a Copyright: unverified.
If the copyright status is unknown or unverified and a copyright notice appears on the work or associated documentation, record the name and date in a note.
500 ## $a Copyright: unknown. 500 ## $a Copyright notice on film: Mimmers, Inc. ; 1998. 500 ## $a Copyright: unverified. 500 ## $a Copyright notice on video: Jonas Mekas ; 1969.
7B11. History of production, distribution, release, distribution
Make notes relating to the history of a moving image work and its versions, editions, rereleases, or reissues, etc.
500 ## $a Short version of work of the same title originally
released in 1965.
500 ## $a Version information (re-editing and new narration) from
copyright descriptive material.
500 ## $a On film: censored version.
500 ## $a Based on the novel by Grace Miller White.
500 ## $a Remake of the 1941 motion picture, Here comes Mr.
Jordan.
500 ## $a Originally developed for ABC-TV.
500 ## $a Title of work is clearly, Ten nights in a bar room;
however, several versions of this film were produced
between 1909-1931. It is probable that this work is
the 1921 version, but due to vagueness of available
plot summaries and disappearance of copyright
descriptive material for the 1921 version, date cannot
be verified at this time.
500 ## $a Paragon Films, responsible for the re-editing, verified
by telephone call to Time-Life, Oct. 10, 1982.
500 ## $a Music and effects track added in 1930 for theaters
equipped for sound.
7B12. Country of production
Make notes relating to the country or countries of production of a moving image work.
500 ## $a Variety, 5/16/1982 gives Nigeria as country of
production; New York times, 5/21/1982 gives Zimbabwe as
country of production.
Any countries which appear on the work, but are not associated with the original production or distribution, are given in a note.
518 ## $a Filmed on location in Hong Kong and Singapore.
7B13. Incomplete works
Make a note if a moving image work is incomplete. See 5B4 and 5B5.
500 ## $a Main title, credits, and some footage at head lacking.
$5 DLC
(If applicable, use institution's local code.)
500 ## $a Sound track lacking in reel 1: ft. 278-353. $5 DLC
(If applicable, use institution's local code.)
500 ## $a Jumps in continuity and original length indicate part
of picture lacking. $5 DLC
(If applicable, use institution's local code.)
Optionally, when substantial portions of a moving image work is lacking, start the note with the introductory word "Incomplete," followed by a colon.
500 ## $a Incomplete: reel 4 lacks part of picture. $5 DLC (If applicable, use institution's local code.)
7B14. Length or running time
Note any additional information relating to the length or running time of the work.
500 ## $a Footage estimated; film too brittle to be viewed. $5 DLC (If applicable, use institution's local code.) 500 ## $a Film is stretch-printed. $5 DLC (If applicable, use institution's local code.) 500 ## $a May be compressed time. $5 DLC (If applicable, use institution's local code.) 500 ## $a Cassette label incorrectly lists running time as 60 min.; commercials have probably been erased. $5 DLC (If applicable, use institution's local code.)
7B15. Sound characteristics
Give any special characteristics or details of the sound component of moving image works in notes.
500 ## $a Sound track lacking.
500 ## $a Sound track consists of music and effects.
500 ## $a Digital sound track (DTS) on 2 compact discs stored in
1 film can. $5 DLC
(If applicable, use institution's local code.)
7B16. Color characteristics
Give detailed information about the color characteristics of moving image works in notes.
500 ## $a Hand-colored original copied on color film. 500 ## $a Technicolor print. 500 ## $a Color sequence in reel 10.
7B17. Technical information
Give notes about the technical details of a moving image work.
500 ## $a Reference print is on Kodak 5386 stock.
500 ## $a Duplicate neg consists of A and B rolls. $5 DLC
(If applicable, use institution's local code.)
500 ## $a Reel 8 is completely interior titles; reels l-7 have no
interior titles, but do include slugs for interior
titles. $5 DLC
(If applicable, use institution's local code.)
If there is more than one set of elements in the physical description area, specify the set to which the note refers.
500 ## $a Reel 4 of masterpos lacks color sequence at ft. 57-95.
$5 DLC
(If applicable, use institution's local code.)
7B18. Multiple copies
If there are multiple copies of a moving image work on a single record, any distinctions between the copies should be made clear in a note. See Chapter 2 for versions.
500 ## $a Reference print (copy 2) is rerelease copy. 500 ## $a Reference print (copy 2) is television print.
7B19. Projection characteristics or video playback mode
Give projection characteristics or video playback modes not described in the physical description area in notes. See 5C4.
500 ## $a Silent with sound aperture. 500 ## $a Silent aperture. 500 ## $a Quadruplex. 500 ## $a Aspect ratio is 1.66:1. 500 ## $a Viewing copy is a pan-and-scan video. 500 ## $a MCA DiscoVision. 500 ## $a "Film in SchizophrenoScope."
7B20. Preservation
Give details that are important to the preservation, use or storage of a moving image work in a note.
500 ## $a Reference print too brittle to be viewed. $5 DLC
(If applicable, use institution's local code.)
500 ## $a Do not view; film is warped and brittle and telescopes
on takeup. $5 DLC
(If applicable, use institution's local code.)
500 ## $a Workprint contains many splices. $5 DLC
(If applicable, use institution's local code.)
500 ## $a Color is faded. $5 DLC
(If applicable, use institution's local code.)
7B21. Accompanying material
Make notes on accompanying material held by the archive.
500 ## $a With continuity list.
500 ## $a With lobby cards, pressbook, posters, and other
publicity material.
500 ## $a With stills.
500 ## $a With synopsis and script.
For the location of related materials, see 7B40.
7B22. Series
Make notes related to the series of which a moving image work is a part.
500 ## $a Reissued in 1974 as part of series: New versions of
comedy classics.
If parts of a work belong to different series, explain this in a note.
500 ## $a Parts 1-3 (ca. 45 min.) are also included in: Oil spill
contingency planning series.
Optionally, include variant forms of the series title proper other than parallel titles in a note.
7B23. Dissertations
If a moving image work is a dissertation or thesis presented in partial fulfillment of the requirements for an academic degree, give the designation of the thesis (using the word "thesis") followed by a brief statement of the degree (e.g., M.A. or Ph.D.), the name of the institution or faculty to which the thesis was presented, and the year in which the degree was granted.
502 ## $a Thesis (Ph.D.)--New York University, 1981.
7B24. Users/Intended audience
Make a brief note on the intended audience for a moving image work if one is stated on the work, its container, or accompanying material.
521 8# $a Intended audience: adults (age 18 and over). 521 8# $a Intended audience: pre-school children. 521 1# $a For children aged 8-12.
7B25. Reference sources and reviews
This rule covers published reviews and descriptions and the formal "Sources used" note, which may include unpublished sources.
All reference sources consulted for cataloging may be consolidated in one formal note preceded by the words "Source(s) used:", followed by the sources cited. Separate citations with a semi-colon, space. It is not necessary to repeat citations which already appear in other notes.
Make a separate note for the source of a title if it does not appear on the work being cataloged. Make a separate note to justify title added entries. Make a separate note for a summary completely or partially quoted from a source.
500 ## $a Sources used: Internet movie data base, 3/29/1998; New
York times, 3/25/1998.
500 ## $a Sources used: M/B/RS copyright description; M/B/RS
acquisition files.
Optionally, an archive may deem it necessary to make a note for every source cited.
Cite reviews or descriptions in a note.
510 4# $a Variety, $c 10/29/1978, p. 2.
510 4# $a Motion picture herald, $c 10/5/1935, p. 35, $3 but this
review appears to be for British release.
7B26. Other available formats
Only if the information is readily available, give a note about whether the work has been issued on other formats that are not held by the archive.
530 ## $a Also issued on videodisc.
7B27. Summary
Give a summary of the content of an work. The object of a summary is to give the viewer a good idea of what to expect when he or she views the work, thus avoiding unnecessary handling of the film or video.
520 ## $a Film has ca. 2 ft. of views of Dr. William Crawford
Gorgas, chief sanitation officer of the Panama Canal
(1904-1913) and member of the Isthmian Canal
Commission, standing in front of a building; location
of this sequence is undetermined. Remainder of film
shows Dr. Gorgas and an unidentified man riding on a
Panama Canal Company train. The two men are silhouetted
against passing scenery of the Canal Zone as Dr. Gorgas
shows the other man points of interest. The train
passes a body of water--which is probably a part of the
canal--countryside, and buildings--probably on Front
Street, Colon--including a YMCA club. The final scene
is of people walking across tracks after the train
passes.
520 ## $a Traces the life cycle of a common housefly from egg to
maggot, then pupa, and finally maturity. Utilizes
close-up magnified photography.
520 ## $a Drama about a college athlete who becomes paralyzed
after a polo accident.
520 ## $a Focuses on the pivotal year, 1851, and serves the
contrasting forces of Victorianism on the surface and
Marxism beneath.
520 ## $a Film includes panoramic views of Buckingham Palace, the
Queen Victoria Memorial, and crowds lining the Mall. A
military band marches toward the palace gates. A group
of automobiles and a single carriage proceed down the
Mall toward the palace.
If a summary is completely or partially quoted from a source, see 7B25.
7B28. Contents
Give a list of the individual parts, segments, sequences, etc. of a moving image work. Contents notes should be given for newsreels or newsreel segments, newsfilm, magazine-type programs, unedited footage, compilation works, home movies that consist of separate events, and any other works that consist of several parts. Include data such as titles on the work, footage, copyright information, and any other appropriate information. Separate each segment with a space, dash, space.
245 00 $a Pathe news. n [Excerpts no. 6].
505 0# $a "Newest U.S. submarine goes into commission", Pathe
news no. 60 [1921] (160 ft.) -- "Span of new Memorial
Bridge to connect N.H. and Maine", Pathe news no. 57
[1923] (72 ft.) -- "Celebrate 300th anniversary of
settling of Portsmouth", Pathe news no. 69 [1923] (99
ft.) -- "World's largest sub takes first plunge", Pathe
news no. 93 [1927], © 2lNov27; MP4478 (134 ft.) -- "New
Memorial Bridge between N.H. and Maine!" Pathe news no.
70 [1923] (105 ft.) -- "Launch largest submarine
cruiser", Pathe sound news no. 1 [1930], © 29Dec29;
MP1025 (80 ft.).
245 00 $a Omnibus. n I, vol. 4 / c the TV-Tadio Workshop of the
Ford Foundation ; exec. prod., Robert Saudek.
505 0# $a Dance madness / director, Jean-Benoit Levy ;
choreography, Leone Mail ; performers, Claude Bessy and
Jean Guelis (11 min.) -- The Christmas tie / writer,
William Saroyan ; cast, Helen Hayes and Burgess
Meredith (21 min.).
245 00 $a [Meyer, Eugene and Agnes--home movies. p Antigua,
Guatemala, ca. 1927].
505 0# $a Reel 1. Fiesta in Antigua: natives dancing ballroom
style in the street, wearing lifelike masks, top hats,
curls; scenes of others watching the dancers; one man
and several women riding horses painted with small
spots; parade with floats passes in the street -- Reel
2. Fiesta in Antigua, as in reel 1, with masked
dancers; scenes of musicians playing flutes, bass
fiddles, xylophones -- Reel 3. Marketplace in Antigua;
scenes of women with baskets and other bundles on their
heads and children on their backs; scenes of a group of
men all wearing the same type of hat -- Reel 4. Antigua
marketplace again; exterior of a church; scene inside
the marketplace where many pigs are seen; a pack of
mules passes.
7B29. Numbers associated with the work
Give numbers associated with the work other than International Standard Serial Numbers in a note. See 6G.
500 ## $a Donor's inventory number: RMA 301-4. 500 ## $a Accession number: 82-05-30-1. 500 ## $a Episode no. 87802. 500 ## $a On videocassette box: Facets Multimedia cat. no. 78-9084. 020 ## $a 1-57695-019-0.
7B30. Holdings
If holdings information must be recorded in the description, give it in a note.
500 ## $a LC holds both original release copy (ref print) and
reissue copy (viewing copy). $5 DLC
(If applicable, use institution's local code.)
7B31. With notes
When two or more separate works are contained on an item or items, give the title(s) of the works other than the one that is being cataloged in a note.
When two or more separate works are contained on an item or items and they were originally released together, such as a split reel, formulate the with note as follows:
501 ## $a On reel 1 with: The fable of the honeymoon that tried
to come back.
501 ## $a On one reel with two animated films: Der gestiefelte
Kater and Der Hundefanger.
When two or more separate works are contained on an item or items and they were not originally released together, such as a collector's compilation reel, formulate the with note as a local note:
500 ## $a On cassette with: The diving horse, Perroquets savants
and [The Devonshire fair?]. $5 DLC
(If applicable, use institution's local code.)
500 ## $a On reel with: A day at the circus series. $5 DLC
(If applicable, use institution's local code.)
Optionally, give the location on the item or items other than the one being cataloged of the additional separate works, the length in feet or minutes, and the total length or duration.
500 ## $a Second film on one reel with: The suburbanite. $5 DLC
(If applicable, use institution's local code.)
500 ## $a On cassette with: Road maps to the lanes--how to bowl
in $5 easy lessons (25 min., begins at min. 30); total
time 55 min. $5 DLC
(If applicable, use institution's local code.)
7B32. Genre and form terms
Give a genre term or terms and a form term or terms which broadly categorize the content of the moving image work. Archives may use a standard list of genre and form terms, such as The Moving Image Genre-Form Guide or Moving Image Materials : Genre Terms.
500 ## $a Comedy television series. 500 ## $a Documentary feature. 500 ## $a Experimental short.
7B33. Censorship
Indicate whether the work has been viewed by a censorship board or other similar agency. This note may explain why portions of the film have been cut from the copy in the archive's collection.
500 ## $a Approved by the Maryland State Board of Censors.
7B34. Awards
Cite awards the work has received in a note.
586 ## $a Received Academy Award for best picture in 1957.
7B35. Rating designations
Give rating designations in a note.
521 8# $a MPAA rating: X. 521 8# $a This television program has been rated TV PG.
7B36. Collection
Record in a note the name of the collection to which the work belongs if this information is appropriate.
561 ## $a American Film Institute Collection. 561 ## $a Theodore Granik Collection. 561 ## $a AFI/Mary Pickford Collection. 561 ## $a WCCO-TV (Minneapolis, Minn.) Collection.
7B37. Restrictions on access
Give any use restrictions on use in a note. If restrictions are lengthy, indicate that the work has restrictions and refer user to appropriate paperwork or person.
506 ## $a Cannot be viewed until 2020.
506 ## $a Restricted viewing; $c written permission required; b
donor.
506 ## $a Restricted viewing; $c see reference librarian.
7B38. Terms governing use
Give information regarding rights to use the materials subsequent to access (if not apparent from copyright restrictions). Give any copying restrictions in a note. If copying restrictions are complicated, indicate that the work has copying restrictions and refer users to the appropriate paperwork or person.
540 ## $a No copying of this material is allowed.
540 ## $a Restricted copying; $c written permission required; $b
donor.
540 ## $a Copying is allowed for noncommercial purposes only.
540 ## $a Restricted copying; $b see Smith, John Collection file.
540 ## $a No transfer to video allowed.
7B39. Source of acquisition/Provenance
For archives that choose to make their acquisition information available to users, give the provenance or method of acquisition of the work in a note. Cite date of receipt, method of acquisition (gift, purchase, deposit, loan, etc.), and source of the material, unless it is obvious from other data in the cataloging record or by the nature of the collection of moving image materials.
541 ## $d Received: 11/25/1972; $c copyright deposit.
541 ## $d Received: 5/15/1982; $c gift; $a from the estate of
John Smith; for paperwork, see Smith, John Collection
file.
541 ## $d Received: 6/6/1981; $3 neg copied from nitrate; $c
loaned; $a by the Museum of Modern Art.
541 ## $d Received: 8/3/1981; $3 ref print and videocassette; $a
archive lab.
7B40. Location of related materials
Give the location of related materials such as scripts, posters, stills, pressbooks, etc. not held by the archive in a note.
544 ## $a Museum of Modern Art, New York, $3 holds stills.
544 ## $a Brigham Young University, Harold B. Lee Library $3
holds original script.
544 ## $a Academy of Motion Picture Arts and Sciences, Margaret
Herrick Library $3 holds posters, pressbooks, and
stills.
For the location of accompanying materials such as scripts, posters, stills, pressbooks, etc. held by the archive, see 7B21.
7B41. Publications
Give the citation or information about a publication based on the use, study, or analysis of the material described in a note.
581 ## $a The Theodore Roosevelt Collection is described in:
Veronica Gillespie. "T.R. on film". Quarterly journal
of the Library of Congress (January 1977), p. 39-51.
Library of Congress