DATE: May 7, 2001
REVISED:
NAME: Repeatability of Field 508 in the MARC 21 Bibliographic Format
SOURCE: ALCTS Media Resources Committee; Association of Moving Image Archivists (AMIA); Cataloging Policy Committee of Online Audiovisual Catalogers, Inc. (CAPC)
SUMMARY: This paper proposes the possibility of changing the repeatability of field 508 in the MARC 21 bibliographic format to enable recording of complex and multiple credit notes.
KEYWORDS: Field 508 (BD); Creation/production credits note (BD)
RELATED:
STATUS/COMMENTS:
05/07/01 - Made available to the MARC 21 community for discussion.
06/17/01 - Results of the MARC Advisory Committee discussion - Approved.
Definition of subfields $u (Uniform Resource Identifier) and $3 (Material specified)
may be considered in a later paper.
08/07/01 - Results of LC/NLC review - Approved.
PROPOSAL NO. 2001-07: Repeatability of Field 508
Field 508 (Creation/Production Credits Note) records the credits for persons or organizations, other than members of the cast, who have participated in the creation and/or production of the work. This non-repeatable field is used to credit the producer, director, film editor, consultant, etc., of a production in music and visual resources. Frequently, field 508 is used with field 511 (Participant or performer note), which contains a note giving information about the actual participants, players, narrators, presenters or performers. Field 511 is a repeatable field.
2.1 Layers of credits
Repeating field 508 would promote consistent coding and enhance readability of production credits particularly for complex documentaries and collections of films. Some moving image materials contain multilayered credits, such as a documentary that includes excerpts from other productions with their own notable credits. Repeating the field would allow catalogers to record each layer of credits in a separate 508 field.
The following record is for a documentary on dancing that contains several excerpts from other productions. The production credits described in field 508 are for the film named in field 245. However, the listing of choreographers from the film excerpts were recorded in field 500 because field 508 could not be repeated.
| 245 | 00 | $aThat's dancing!$h[videorecording] / $cMetro-Goldwyn-Mayer presents a Haley-Niven Production ; executive producer, Gene Kelly ; produced by David Niven, Jr. and Jack Haley, Jr. ; written and directed by Jack Haley, Jr. |
| 500 | ## | $aChoreographers: Rod Alexander, Robert Alton, Fred Astaire, George Balachine, Busby Berkeley, Johnny Hoyle, James Cagney, Nick Castle, Larry Ceballos, Gower Champion, Bobby Connolly, Agnes DeMille, Stanley Donen, Isadora Duncan, Louis Falco, Bob Fosse, Loie Fuller, Dave Gould, Jack Haskell, Robert Helpmann, Jeffrey Hornaday, Michael Jackson, Gene Kelly, Michael Kidd, Sammy Lee, David Lichine, Eugene Loring, Rudolph Nureyev, Hermes Pan, Michael Peters, Maurius Petipa, Eleanor Powell, LeRoy Prinz, Jerome Robbins, Bill Robinson, Lester Williams. |
| 508 | ## | $aOriginal music, Henry Mancini ; film editor, Michael J. Sheridan ; supervising film editor, Bud Friedgen ;additional photography, Andrew Lazlow, Paul Lohman ; costume designer, Ron Talksy ; graphic design, Castle-Bryant Motion Design ; musical supervision, Harry Lojowski ; musical editors, William Sarcino, Scott Perry. |
If the field were repeatable, the production credits for the choreographers could be consistently coded in another occurrence of field 508. For example:
| 245 | 00 | $aThat's dancing!$h[videorecording] / $cMetro-Goldwyn-Mayer presents a Haley-Niven Production ; executive producer, Gene Kelly ; produced by David Niven, Jr. and Jack Haley, Jr. ; written and directed by Jack Haley, Jr. |
| 508 | ## | $aChoreographers: Rod Alexander, Robert Alton, Fred Astaire, George Balachine, Busby Berkeley, Johnny Hoyle, James Cagney, Nick Castle, Larry Ceballos, Gower Champion, Bobby Connolly, Agnes DeMille, Stanley Donen, Isadora Duncan, Louis Falco, Bob Fosse, Loie Fuller, Dave Gould, Jack Haskell, Robert Helpmann, Jeffrey Hornaday, Michael Jackson, Gene Kelly, Michael Kidd, Sammy Lee, David Lichine, Eugene Loring, Rudolph Nureyev, Hermes Pan, Michael Peters, Maurius Petipa, Eleanor Powell, LeRoy Prinz, Jerome Robbins, Bill Robinson, Lester Williams. |
| 508 | ## | $aOriginal music, Henry Mancini ; film editor, Michael J. Sheridan ; supervising film editor, Bud Friedgen ;additional photography, Andrew Lazlow, Paul Lohman ; costume designer, Ron Talksy ; graphic design, Castle-Bryant Motion Design ; musical supervision, Harry Lojowski ; musical editors, William Sarcino, Scott Perry. |
2.2 Multiple productions on one item
The repeatable 508 field would also be useful in recording credits for moving image materials that contain several entire film productions. For example, a videorecording containing three Christmas productions would include three different sets of production credits. Redefining field 508 as repeatable would allow the credits for each production to be consistently coded in separate fields.
2.3 Voluminous credits
Redefining field 508 as repeatable would also allow catalogers to record voluminous credits without being confined by the system-specific field length limitations imposed on MARC records. In the past, sizable credits have been either abridged or continued in another field. This practice deters useful and accurate information retrieval and hinders easy readability of production credits. For example, in the following record, some of the credit information was placed in a local field for it could not be contained totally in field 508 because of the field size limitations of the system used.
| 245 | 00 | $aAll the marbles / $h[videorecording] / $c an Aldrich Company production ; edited by Irving C. Rosenblum, Richard Lane ; director of photography, Joseph Biroc ; written by Mel Frohman ; produced by William Aldrich ; directed by Robert Aldrich. |
| 508 | ## | $aAssociate producers, Walter Blake, Eddie Saeta; special costumes designed by Bob Mackie; original music by Frank De Vol; art director, Beala Neel; production designed by Carl Anderson; second unit director, Adell Aldrich; production manager, Eddie Saeta; first assistant directors, Tom McCrory, Chuck Myers; second assistant directors, Robert Shue, et al.; D.G.A. trainee, Joanne F. Karr; set decorator, Stuart Reiss; music editor, Joe Tuley; sound editing by New Creative Sound; dialogue editor, Rich Steven; assistant editors, Daniel Todd Cahn, Battle Davis, Sam Moore; sound, Richard Church; rerecording mixers, Michael J. Kohut, Jay M. Harding, Frank Reale; casting, Reuben Cannon & Associates. Second unit: director of photography, William Birch; second unit camera operator, John Dustin; camera assistants, Todd Henry, et al.; still photographer, Christine Loss; unit publicist, Phyllis Gardner; script supervisor, Grace Wilson; special sequence hair styles, Sydney Guilaroff ..., cont. |
| 590 | ## | $aProduction credits continue: production associate, Eric Schwab; choreographer, Kathryn Doby; location manager, Lynn Kuwahara; construction coordinator, Michael J. Smith; stunt coordinator, Mickey Gilbert; music supervisor, Harry V. Lojewski; music conducted by Tom Worrall; property master, Horst Grandt; special effects, Dennis Dion; men's costumer, Charles E. James; women's costumers, Voulee Giokaris, Charmine Simmons; makeup artist, Bill Turner; hair stylist, Susan Zeitlow. Wrestling sequences: technical advisor, Mildred Burke; assistant technical advisor, Sonia Orellana; title design, Walter Blake. |
If field 508 were made repeatable, the credits could be separated into useful sections within multiple fields. For example:
| 245 | 00 | $aAll the marbles / $h[videorecording] / $c an Aldrich Company production ; edited by Irving C. Rosenblum, Richard Lane ; director of photography, Joseph Biroc ; written by Mel Frohman ; produced by William Aldrich ; directed by Robert Aldrich. |
| 508 | ## | $aAssociate producers, Walter Blake, Eddie Saeta; special costumes designed by Bob Mackie; original music by Frank De Vol; art director, Beala Neel; production designed by Carl Anderson; second unit director, Adell Aldrich; production manager, Eddie Saeta; first assistant directors, Tom McCrory, Chuck Myers; second assistant directors, Robert Shue, et al.; D.G.A. trainee, Joanne F. Karr; set decorator, Stuart Reiss; music editor, Joe Tuley; sound editing by New Creative Sound; dialogue editor, Rich Steven; assistant editors, Daniel Todd Cahn, Battle Davis, Sam Moore; sound, Richard Church; rerecording mixers, Michael J. Kohut, Jay M. Harding, Frank Reale; casting, Reuben Cannon & Associates. Second unit: director of photography, William Birch; second unit camera operator, John Dustin; camera assistants, Todd Henry, et al.; still photographer, Christine Loss; unit publicist, Phyllis Gardner; script supervisor, Grace Wilson; special sequence hair styles, Sydney Guilaroff ..., cont. |
| 508 | ## | $aProduction credits continue: production associate, Eric Schwab; choreographer, Kathryn Doby; location manager, Lynn Kuwahara; construction coordinator, Michael J. Smith; stunt coordinator, Mickey Gilbert; music supervisor, Harry V. Lojewski; music conducted by Tom Worrall; property master, Horst Grandt; special effects, Dennis Dion; men's costumer, Charles E. James; women's costumers, Voulee Giokaris, Charmine Simmons; makeup artist, Bill Turner; hair stylist, Susan Zeitlow. Wrestling sequences: technical advisor, Mildred Burke; assistant technical advisor, Sonia Orellana; title design, Walter Blake. |
3. PROPOSED CHANGE
In the MARC 21 Bibliographic Format:
Library of Congress