Cataloging Audiovisual Materials at UM Libraries
By Richard N. Leigh
UM Libraries catalogs their audiovisual materials and spoken-word sound recordings according to the rules in AACR2, LCRIs, MARC & OCLC standards, OLAC’s Guide to Cataloging DVD and Blu-ray Discs Using AACR2r and MARC 21 (2008 update), USMAI Libraries Bibliographic Standards, and BIBCO’s Core Record Standard for Moving Image Materials. Current AV cataloging workflows at UM are explained on this webpage.
Cataloging AV materials
Videorecordings are cataloged by a variety of catalogers, including both copy catalogers and original catalogers. Copy catalogers handle items for which I-level master records in WorldCat already exist. Original catalogers handle items for which no master record in WorldCat already exists, or for items whose master records are below I-level. As proscribed by AACR2, we use the screen as the chief source of information. All items are screened to verify their credits, regardless of their encoding level.
We include all of the fields from the BIBCO Core Record Standards for Moving Image Materials, as appropriate. We also include an 024 (for UPCs, EANs, etc.). We assign Library of Congress call numbers and subject headings to all AV materials.
Streams of incoming AV materials
The Acquisitions Team orders and receives newly-purchased audiovisual materials. They place the materials in a locked cabinet, pending further inspection by AV copy catalogers. Most of these items will be for Nonprint Media Services, but occasionally items will come in for other branches as well (most commonly the Performing Arts Library or Shady Grove). New orders are cataloged by date of arrival, except for rushes. Cataloged items are placed on the shelf for processing. Once processed, they are shipped to the appropriate branch.
Special collections projects
There are special collections AV materials in the Library of American Broadcasting, the National Public Broadcasting Archives, the National Trust for Historic Preservation Library, Nonprint Media Services, and the Performing Arts Library. Many of these are in “legacy” formats (e.g., 16 mm films, Umatic videocassettes, etc.). These are the special collections workflows that we are currently engaged in, listed alphabetically by title:
- 16mm FILMS FROM NPMS: There are approximately 1000 uncataloged 16mm films at NPMS, created by various entities from the 1950s-1980s. Most of these were commercially released. Small batches of these are pulled for us by the curator, and we screen them at NPMS. These items are already processed and barcoded, so they never need to leave NPMS. We do hand-deliver print-outs of our MARC records to the curator, tho.
- LAB MATERIALS: There are 1000s of uncataloged spoken-word & musical LPs at LAB, created by various broadcasting entities from the 1940s-1970s. Some of these are commercially-released, but many of them are unique archival items. Small batches of these are pulled for us by the curator and mailed to us from LAB. When we are finished with them, we hand-carry them back to LAB for processing on their end.
- NPBA VIDEOS: There are 1000s of uncataloged VHS & UMatic films at NPBA, created by various public broadcasting agencies from the 1970s to the present day. Some of these are commercially-released, but most are unpublished copies kept for use by the agencies themselves. Some are also incomplete or slightly different versions of the finished materials. Small batches of these are pulled for us by the curator, and we hand-carry them back to our department for screening. When we are finished with them, we hand-carry them back to NPBA for processing on their end.
- NTL MATERIALS: There are 100s of uncataloged VHS & UMatic films at NTL, created by various entities from the 1970s to the present day. Most of these are commercially released, but some are not. Small batches of these are pulled for us by the curator and mailed to us from NTL. They receive standard processing, and are returned via campus mail.
- PAL MATERIALS: There are various AV special collections items at PAL, most of which are musical in nature. Most of these are unique archival items. These items are mailed to us from PAL. They usually receive standard processing (unless otherwise noted), and are returned via campus mail.
- WAPAVA DVDs: PAL occasionally creates DVDs of live theatrical performances from the DC area under the auspices of WAPAVA. These items are mailed to us from PAL. They receive standard processing, and are returned via campus mail. For an example record, including the notes fields that need to be included in each MARC record for a WAPAVA item, see “The illusion”.
Gifts
Gifts come to our department from the branch libraries, usually Nonprint or Shady Grove. Once a curator decides to keep a gift, it gets the same treatment as a new purchase and is integrated into an existing queue.
Local Policies
We consider a videorecording of a work that was previously released to be the same work, despite additional features, subtitling, etc. We use DtSt “p”, with the two different dates representing the date of publication of the piece-in-hand (ex: a DVD) and the date of publication of the original content (ex: a feature film).
We believe that films are almost always works of collective responsibility, and are therefore extremely hesitant to use anything other than titles (245) or uniform titles (130) for main entry purposes. Possible exceptions include filmed lectures, live concert recordings, music videos, etc.
We list aspect ratios in the 250 field, including both words (always) & numbers (if available). Ex: “Standard format (1.33:1)”.
We note the presence of special features & DVD-ROM features, but do not individually analyze each featurette.
For closed-captioned videos we use both the content-specific 655 and the content-neutral 655 (ex: both “Films for the hearing impaired” & “Video recordings for the hearing impaired” for a closed-captioned film).
For anime, we use 655 _7 $a Anime. $2 local $5 CP.
For dramatic works, we trace production companies, the director, & major cast members in the 7xx fields. If other named entities are established, they may also be traced.
For non-dramatic works, we trace production companies, the director & significant participants in the 7xx fields. If other named entities are established, they may also be traced.
