A.1 Title Types

This manual recommends a title + title type approach for the treatment of various titles that may be associated with any Moving Image Work, Variant, Manifestation or Item (WVMI).

This would be done with separate title and title type fields in close proximity.

However, this approach is optional, considering that not all systems may be able to accommodate title types in fields that establish the relationship of the title type to the title. Additionally, not all systems will be able to represent clearly the WVMI entities. In such cases, where possible or considered useful, it is recommended that the title + title type include an additional element or description intended to denote the entity to which it belongs. The underlying philosophy is to associate as many titles to the respective entities as possible, within the bounds of time/resources and systems, to facilitate discovery.

The different titles types have been combined in a single section to aid in real-world cataloguing, where one may have an item-in-hand but be making assessments about the title of the Work or Variant associated with the Item, as well as physical characteristics that are particular to the Item but which do not signal a change in the content itself. This is often the case for archival moving images where titles can be readily changed, misidentified by a well-meaning collector, or completely eliminated before the material reaches an institution.⁵

For guidance on wording, order, spelling, punctuation, accentuation and capitalisation, see Purpose.

For sources of information for the Title, see Sources of Information.

Primary Title Types ⁶

Work	Variant	Manifestation	Item
Identifiying	Identifiying
Preferred	Preferred
		Title Proper	Title Proper
Other title information	Other title information	Other title information	Other title information
Alternative	Alternative	Alternative	Alternative
Supplied/Devised	Supplied/Devised	Supplied/Devised	Supplied/Devised

A.1.1 Preferred

The title of a moving image Work or Variant when first released, broadcast, published or transmitted (i.e. mounted online) in the country or countries of origin ( see Country of Reference.

The preferred title is the chief name (also referred to as “main” or “original” title) of any moving image Work or Variant. The preferred title may include part title and series/serial information for moving image materials issued in multiple parts, e.g., episodes in a film or TV serial. See Moving images with probable or questionable titles.

In cases where the preferred Work/Variant title cannot be determined but there is a title on the Manifestation/Item, the title on the Manifestation/Item being catalogued may be used as the preferred title for the Work or Variant.

If the preferred title is ascertained at some point and is different from the Manifestation/Item title, the Manifestation/Item title may then be added to the Work or Variant as an alternative title.

When no title at all can be found for a Work or Variant, follow the procedure set out in the Supplied/Devised Titles (i.e. Creating titles for untitled/unidentified entities or production material) section.

A.1.2 Identifying (i.e. Uniform or Display)¹

A title that differentiates Works or Variants and which is designed for identification and differentiation purposes in display, i.e. the title which displays in search results.⁷

An identifying title is designed to identify the entity it represents quickly and concisely to as many users as possible, including users both familiar and unfamiliar with the entity being identified. This type of title will not be necessary in all systems, such as those utilising unique identifiers (e.g., ISAN or EIDR), or those that index other distinguishing elements in separate fields that will display with the title in search results, e.g., Year of reference. In those cases the Identifying and Preferred title will often be one and the same.

Where separate fields do not exist, create an identifying title using the preferred title of the Work/Variant as the starting point (if no title, see Partially Supplied/Devised Titles).⁸

Add whatever additions to the title are necessary to identify the Work/Variant and distinguish it from other Works/Variants with the same title.⁹ These types of additions are traditionally made within the title field itself (in parentheses or brackets) although other punctuation separators, e.g. full stop may also be used. Use multiple additions where necessary. If multiple additions must be made to the title field in order to identify the Work/Variant, distinguish each addition (e.g., through the use of punctuation such as space colon space, or space full stop space).

Example

Blade runner. Final Cut. 1982

Possible qualifiers include content terms (see for example D.18 List of form terms for Supplied/Devised titles), corporate bodies that are not principal creators of the Work/Variant but are closely associated with the Work/Variant and useful for identification of it, place of publication/release/distribution/broadcast, and date of publication/release/distribution/broadcast.¹⁰

Works:

Example

A Star is born (Motion picture : 1954)

A Star is born (Television programme : 1961)

Variants:

Example

Police story III – Supercop. English subtitled version

Blade runner (Motion picture. 1982. 2007 version)

Blade runner (Motion picture. 1987. 25th anniversary edition)

It is not necessary to append Variant information to the Work identifying title for every type of Variant; many of the types of modifications that lead to Variants are too complex to include and much of the data that identifies a particular Variant will consist of data elements that form part of the Variant description.

A.1.3 Title Proper

The title of a moving image Manifestation or Item. This is a transcribed element, reflecting the title as it appears onscreen.

Manifestations

The title proper corresponds to that of the Manifestation of a Work/Variant, i.e. the title used for a theatrical 35mm release, the title used for a DVD release, the title used for a Television broadcast, the title used for an Internet release, etc. It may reflect the title used in secondary sources or the title as viewed by the cataloguer from a moving image Item belonging to the considered Manifestation. It is the chief name of any Manifestation and represents the primary access point.¹¹

Ideally record in a note or dedicated field the source of the title proper.

If it is impossible to determine the title proper or if the Manifestation is the embodiment of a Work not intended to have a formal title, construct a supplied/devised title (see Supplied/Devised Titles (i.e. Creating titles for untitled/unidentified entities or production material)).

Specify in a note or dedicated field if the title proper is not determinable or if the Manifestation embodies a Work not intended to have a formal title.

Items ¹²

Ascertaining the Title Proper of Items differs from ascertaining those for Works, Variants and Manifestations in that what is on or affixed to the Item or physical copy itself takes precedence.

The title of an Item may differ, either slightly or wholly, from the title of the Manifestation and/or Work/Variant to which it is linked hierarchically. In particular, where an incomplete physical product of the Manifestation has been acquired (see Analytics/Components of identified newsreels/cinemagazines).

If it is not possible to establish a title from either the Item or its container then secondary sources or a supplied/devised title can be used.

Titles should be transcribed in accordance with the cataloguing guidelines and stylistics applied to Works/Variants and Manifestations.

Items may also have title-like information on film leader, cans, and containers.

Ideally, the title proper of an Item is determined by the following:

i) The title frame or frames, or title screen or screens, or title that is permanently printed on, affixed to, or embedded in the resource.

ii) If the resource contains none of (i), then use any label bearing a title that is physically affixed to or within the container of the item, or printed on accompanying textual material.

iii) In the absence of either (i) or (ii), and if catalogued within a WVMI structure, then replicate the title of the Manifestation to which the Item will be linked.

iv) In the absence of either (i) or (ii), and either not catalogued within a WVMI structure, or Work and Manifestation have not yet been identified, then a supplied/devised title should be created. In the latter instance, any subsequently created Work and Manifestation to be linked to the Item record should have the same title and a supplied/devised title type (See Supplied/Devised Titles (i.e. Creating titles for untitled/unidentified entities or production material)).

A.1.4 Other Title information²

Other Work/Variant/Manifestation/Item title (WVMI) information is defined as a word or phrase appearing in conjunction with, and subordinate to the title, and which qualifies, explains, or completes the title to which it applies or which is indicative of the character, contents, etc., of the WVMI, or the motives for, or occasion of, its production or publication.

Other title information includes subtitles, avant-titres, etc., but does not include alternative titles.¹³ Cataloguers may constitute subordinate phrases as part of the Work or Variant title when, in their judgment, such phrases form an integral part of the preferred title.

If other title information appearing on the Manifestation/Item is considered to be important (either for identification or for access), transcribe it as it appears on the source of information, following the principle of transcription and according to the general guidelines on transcription given in Relationship of FIAF Cataloguing Rules to Functional Requirements of Bibliographic Records (FRBR), Resource Description and Access (RDA) and The European Standards Committee (CEN) Cinematographic Works Standard EN 15907, section entitled “Representation (or principle of transcription).

Example

Dr. Strangelove, or, How I learned to stop worrying and love the bomb

Example

Film d’amore e d’anarchia, ovvero, Stamattina alle 10 in Via del Fiore nella nota casa di tolleranza

Example

Claymation: three dimensional clay animation

Example

This Britain: Heritage of the sea

Distinguish the other title information through the use of spacing or punctuation, or a separate or dedicated field. If a general material designation is used, place it after the preferred title and before other title information.¹⁴

Example

Claymation [motion picture]: three dimensional clay animation

Example

This Britain [motion picture]: Heritage of the sea

A.1.4.1 Abridging or omitting other title information

If other title information is lengthy or of very minor importance, either give it in a note or omit it. See Appendix B, Cataloguer’s Notes. Abridge other title information only if this can be done without essential loss of information.¹⁵

If other title information is clearly of very minor importance, for example a newsreel slogan, or it is an avant-titre which grammatically cannot follow the title proper, place it in a note.¹⁶

Example

CBS news special. Challenge in the coal mines : (other title information) men against their union

But (without separation into “title proper” and “other title information”):

Example

Berlin – Die Sinfonie der Großstadt

Pompeii, frozen in Fire

A.1.5 Alternative³

Ensures that users can search under any variation of the title that has been used for a Work, Variant, Manifestation or Item, and be led to the content or particular physical object that they seek.

Alternative titles for the Work differ from uniform, preferred, and other title information and may be encountered in the course of cataloguing its Variants, Manifestations and Items. If the Work could reasonably be sought under the title(s) of one of these Variants/Manifestations, the alternative title should be indexed in such a way that a user who searches on it is led to the Work.

Alternative titles for the Manifestation differ from the title proper or other title information.¹⁷

Alternative titles on a Manifestation can have a different nature, expressing the possible different designations of the Manifestation during its production, release, publication or archival history that may be different from the title proper or parallel titles.

Ideally record in a note the source(s) for the alternative title(s).

Some institutions may wish to name the type of alternative title. Record the Alternative Title Type by taking the most suitable term from a controlled list elaborated in-house or referring to an authoritative existing list.

If no specific alternative title type is known, the information can be omitted.

A controlled list, not exhaustive and open to further and continued implementation, is suggested below:

A.1.5.1 Alternative title types

• Working: A provisional title, given during the production or the manufacturing process.¹⁸

• Acquisition title: A title under which a moving image was acquired, with no other discernible title discovered.

• Pre-release title: A provisional title, given to the Manifestation before the release or publication with the definitive title of the related Work.¹⁹

• Abbreviated title: A title given in order to designate it quickly by the institution.²⁰

• Translated title: A title given to designate the Manifestation in the language of the institution, in a literally translated form (not to be confused with the Parallel title).²¹

• Transliterated title: A title given to designate the Manifestation in the alphabet of the institution, following international standards of transliteration, such as ISO 9 (not to be confused with the Parallel title).²²

• Corrected title: A title given in the corrected form by the institution, when it is recorded incorrectly in the sources of information, if it is considered to be important (either for identification or for access).²³

• Help/Search: Titles which may or may not have been used in verified sources but which clearly help when searching. Use the “Help/Search” title type for stylistic variations including, abbreviations (e.g., Dr./Doctor), numerals (e.g., 45/forty five), acronyms (e.g., FIAF/International Federation of Film Archives) symbols and other characters (e.g., &/and, £/pound), different spelling (Southsea/South Sea).²⁴

Example

The fast & the furious 5

The fast and the furious 5

The fast & the furious 5 Rio heist

The fast and the furious 5 Rio heist

Fast & furious 5

Fast and furious 5

Fast & furious 5 Rio heist

Fast and furious 5 Rio heist

The fast & the furious five

The fast and the furious five

The fast & the furious five Rio heist

• Series/Serial title: the series/serial title of a Work that constitutes an episode/part

Example

Mary Tyler Moore show = Series/Serial Title

Chuckles bites the dust = Preferred Title

(see Title)

• Parallel title : the title in another language or script.

In most cases, a Parallel title correlates to Variants for different language versions.

For archival moving image cataloguing, the concept of a parallel title includes any title qualifying as a preferred title but which is not used as the preferred Work title (e.g. parallel titles for international co-productions, a title which cannot be reproduced) and any title by which the Work is commonly known to users and researchers.

Parallel titles are recorded with wording and spelling as established by an appropriate principal source. Where this involves transcription between scripts, use an appropriate standard for transliterations.²⁵

Example

Chandralekha [No English language title translation available;

archive holds Indian release copy – title is romanized.]

When a title is an international co-production, or is produced in a bi- or multi-lingual country of origin, and is released simultaneously under separate titles in the languages of the country of origin or countries of co-production as well as in other languages, record all the parallel titles in the languages of the countries of co-production and in the language of the copy the institution holds, if it is in an additional language.

If it cannot be determined whether the Work was released simultaneously or the release order cannot be determined, the cataloguer should select one of the qualifying titles in accordance with a consistent policy (for example from a list of languages in the institution’s preferred order, or by reference to an authoritative source.) ^{26 27}

Historically, parallel titles have been placed within the title field itself, following the preferred title and an equal sign to represent the title frame (i.e., the fact that both titles appear onscreen). These guidelines recommend the use of separate fields that distinguish between the preferred title and any subsequent parallel title(s) but if this is not possible, the older approach is acceptable.

Example

Der Fangschuss = Coup de grâce [Work is a German-French co-production. The Work was released in the U.S. under the French title.]

Der Fangschuss (Preferred Title)

Coup de grâce (Parallel Title)

Alternatively, an institution may opt to have fewer Title Types and simply use Preferred and Alternative Title Types (i.e., designating parallel titles as Alternative Title Types). For example, with co-productions, a Preferred title for the Work is established with all other language titles added both as Alternative title types to the Work and as the Title Proper/Other Title of an associated Variant and/or Manifestation.

A parallel title of a Manifestation corresponds to the title proper in another language or script.²⁸

Record in a note the source of the parallel title, as appropriate. Institutions may choose to distinguish between distinct Parallel and Alternative title types or adopt a wider definition of “Alternative” which incorporates both.

For parallel titles of a Manifestation distributed in distinct geographical regions, record the region(s) to which the parallel title applies.

(For the treatment of the geographical names, see Getty Thesaurus of Geographic Names (TGN), or some other recognised standard.)

A.1.6 Supplied/Devised Titles (i.e. Creating titles for untitled/unidentified entities or production material)

A title “made up” or assigned by the cataloguer. This is often applied to untitled or unidentified entities or production material.

This section helps in the construction of both partially or fully supplied/devised titles for Works, Variants, Manifestations and Items.

Partially or fully supplied/devised titles facilitate the discovery and identification of moving images without formal title. The title itself should be descriptive, describing the Work as succinctly as possible.²⁹

Supplied/Devised titles are implemented for:

• moving image entities (i.e., WMVI) intended to have a formal title but the title cannot be determined from any other source (i.e. moving image entities with “no titles”)

• moving image entities that were not intended to have a formal title (i.e. “untitled” moving image entities such as home movies)

• moving image entities that are unidentifiable.

The moving images may be monographic, multi-part or component part. They may also be edited, partially edited, or unedited; complete or incomplete.

These guidelines do not explicitly address the construction of supplied/ devised titles for collection-level records, although the principles would be the same. For collections of material based on the principle of provenance, refer to other standards such as General International Standard Archival Description (ISAD(G)) or Describing Archives: A Content Standard (DACS).

It is recognised that in real-world cataloguing, the creation of supplied/devised titles must begin with an examination of the moving images (i.e. the sound and picture) on a Manifestation/Item.

Where appropriate, the supplied/devised title for Works and Variants will be inherited directly from the supplied/devised titles constructed for the Manifestations/Items (i.e., the “things” under consideration) from information sourced from the Manifestations/Items alone or in combination with accompanying documentation, or secondary sources.

NOTE: The guidelines for the construction of partially or fully supplied/devised titles have traditionally incorporated display concerns by recommending the consistent placement of different components of data in the title field of a record. Current data content standards, such as RDA, mean to separate display from content rules. These guidelines straddle the middle by providing recommendations for concatenating data in the title field, or allowing a more atomized way of indexing.

Additionally, some institutions place the partially or fully supplied/devised titles in square or rounded brackets. Traditionally, the presence of brackets indicates information taken from a place other than the Item being catalogued. Use the practice of your institution. Where possible, use a Title + Title Type approach. This approach effectively removes the need for brackets by establishing the Title is supplied/devised by the cataloguer. If there is no Title Type field then a Notes or other field could be utilised.

It is recommended that archive titles are devised following a pattern of:

Who/what: persons, events or objects What: activity Where: location When: time period Who/what: name of source or collection

The above elements can be combined with a form qualifier if relevant: i.e. Commercial, Rushes, Interview, or Screen test, etc.

Not all the above information has to be in the archive title if not discernible, but incorporating as many as possible using a consistent will aid identification.

Example

Lawrence of Arabia. Rushes

Example

Tram journey through Southampton 1902

Example

Warships. 1920s

Example

Tango. Orange genie. Commercial

Example

Jones Collection footage. No. 5

A.1.6.1 Partially Supplied/Devised Titles⁴

Partially supplied/devised titles are applied in cases where the moving image content from a Manifestation/item has:

• a recognised form

and

• a relationship with, or is dependent upon, a particular moving image Work or Variant, or a multi-part Work.

Therefore, partially supplied/devised titles may be created for edited content that is a Work in its own right (e.g. trailers or a compilation of trailers) but connected to a larger Work; or unedited content that is derived from or otherwise has a dependent relationship to a Work (e.g. rushes).

Partially supplied/devised titles are basically augmented preferred titles for a Work/Variant. This augmentation traditionally appends a form term to the title itself, (e.g., Gone with the wind. Trailer).

Optionally, form terms may be left out of the title field and indexed as an attribute of the Work/Variant where possible or preferable.

Partially supplied/devised titles may be provided in cases of unidentified moving image content. For example, a Work may have a partially supplied/devised title in instances where a series/serial title is known but the episode or chapter title is not (e.g., The Mighty Boosh. Unidentified episode). Unedited footage from a known, named television programme (e.g. a compilation of outtakes from 60 Minutes) is another case where a Work may have a partially supplied/devised title.

Institutions should rely upon in-house lists of standardised form terms to be used as additions to/indexed as an attribute of such related titles, or utilise established standardised lists such as Library of Congress Genre/Form Terms for Library and Archival Materials (LCGFT), or rely upon the “form terms” list provided in List of form terms for Supplied/Devised titles.

General guidelines for Partially Supplied/Devised titles³⁰

Formulate the Partially supplied/devised title by recording in the order suggested, the following three components, in a manner that it will clearly and uniquely identify the content being catalogued.

i) The TITLE of the particular moving image Work or Variant, or multi-part Work to which the content has a recognised form and relationship with

And

ii) The FORM qualifier, e.g. Commercial, Interview, Rushes, Screentest, etc.

And/Or

iii) The NAME of Persons/Events/Objects, activity, location, time period (Who, What, Where, When)

Optionally, associate a form term with the Work through indexing the form term in a specific field(s).

Where applicable, more than one form term can be used, e.g., Frenzy. Promotional film. Rushes.

If the order or the number of the components cannot be met as prescribed, optionally, use a local practice that presents the data in a standardised way, even if such standardised presentations must be developed on a case-by-case basis, depending on the material itself as well as the context of an institution’s collection. A level of consistency can be maintained by following the general principles of description laid out in these guidelines.

When there is more than one Manifestation/Item with the same supplied/devised title, and there are no other means of further disambiguation, use a number to distinguish them.

The source(s) of information of the supplied/devised title should be made clear, whether in notes or through some other structured method for correlating data to its source(s).

A relationship between the title and the title type should be established such that the title constructed by the cataloguer is named and identified as “supplied” or “devised,” whether within the title itself or via a juxtaposed field such as “Title Type.” If there is no Title Type field then a Notes or other field could be utilised.

Some archives place the entire sequence of components in the title field in brackets.

Other archives place only the qualifying form term in square or round brackets.

Example

Le Cercle Rouge. Theatrical trailer

The misfits. TV trailers

L’armée des ombres. Rushes

Le samourai. Excerpt

OR

Example

Le Cercle Rouge (Theatrical trailer)

The misfits (TV Trailers)

L’armée des ombres (Rushes)

Le samourai (Excerpt)

OR

Example

[Le Cercle Rouge. Theatrical trailer]

[The Misfits. TV trailers]

L’armée des ombres [Rushes]

[Le samourai. Excerpt]

OR

Example

Title: Le Cercle Rouge, Form: Theatrical trailer

Title: The Misfits, Form: TV trailers

Title: L’armée des ombres, Form: Rushes

Title: Le samourai, Form: Excerpt

For constructing partially supplied/devised titles where the moving image is a component part of a known larger Work, but the title of the component part is not known:

If the content probably was released or broadcast or published with a title, but the title is missing, supply/devise a title with the word “unidentified.” If it is known that the content falls into a form category, add a form term as listed in the “form term” list.³¹

Descriptive phrases, which are short statements summarising the moving image, can also be used in association with a titled Work, in conjunction with the form term.

Any further description may be added following a period, or a dash.³² For example, the type of test (screen test), the person tested, or the particular sequence(s) in an excerpt, may be specified in the title field where necessary or warranted.

Optionally (or additionally), this data can also be indexed in specific fields dedicated to this content.

Use numbers to distinguish separate content when there is more than one unidentified segment in a particular descriptor category.

Example

The Mighty Boosh. Unidentified episode

OR

Example

Series Title: The Mighty Boosh

Episode Title: Unidentified episode

Example

Flash Gordon conquers the universe. Unidentified episode.

OR

Example

Series Title: Flash Gordon conquers the universe

Episode Title: Unidentified episode

Example

This hour has seven days. Unidentified episode. International espionage. 196?

OR

Example

Series Title: This hour has seven days

Episode Title: Unidentified episode

Summary/Content description: International espionage

Year: 196?

Example

Heckle and Jeckle. Unidentified cartoon.

OR

Example

Series Title: Heckle and Jeckle

Episode Title: Unidentified episode

A.1.6.2 Fully Supplied/Devised Titles

Fully supplied/devised titles are applied in cases where the moving image content from a Manifestation/Item has no formal title and a formal title cannot be established from the entity itself or accompanying documentation, or other secondary sources.

General guidelines for FULLY Supplied/Devised titles

Formulate the FULLY supplied/devised title by recording in the order suggested, the following TWO components, in a manner that will clearly and uniquely identify the con- tent being catalogued.

1) The NAME of Persons/Events/Objects, activity, location, time period (Who, What, Where, When)

AND/OR

2) A FORM qualifier, e.g. Commercial, Interview, Rushes, Screentest, etc. [Either added as a component to the title itself, or indexed in specific field(s)]

Where ascertainable, when the content being described consists of one specific form, supply the form using standardised vocabulary.³³

Optionally (or additionally), establish a link with the form index adopted by the archive.

Institutions should rely upon in-house lists of standardised form terms, or utilise established standardised lists such as Library of Congress Genre/Form Terms for Library and Archival Materials (LCGFT), or rely upon the list provided in List of form terms for Supplied/Devised titles.

Example

Announcements

Bloopers

Commercials

Home movies

If the content being described consists of two or more forms, record the one or two most predominate forms followed by the phrase “and other content,”³⁴ or “and other segments” or something similar as long as consistency is achieved.

Example

CBS bloopers, commercials and other content

It is recommended that institutions stipulate within the supplied/devised title that the footage is unedited (e.g. “unedited footage” or “unedited content”), as an overall way of characterising the form of the content. This may not be appropriate in all cases.³⁵

Example

Animals. Unedited footage

Example

Boulder transmission line tests. Unedited footage

Example

Cattle herd. Stock footage

Example

Kennedy presidential campaign. Arrival, Boston. Unedited footage

Example

Trains, night clubs, Santa Ana Freeway. Stock shots

Example

Unedited. Kleine Collection footage

Example

Unedited. Jones Collection footage. No. 5

Where ascertainable, supply standardised or controlled terms or phrases that most precisely and succinctly characterise what the content is about (e.g. persons, corporate bodies, objects, activities, events, geographical area).

Where ascertainable, record the name(s) of the person(s), family (families) or corporate body (bodies) predominately responsible for the creation, assembly, accumulation and/or maintenance of the content.³⁶ An agent relationship should be associated with a Work, Variant or Manifestation/item depending on the type of contribution involved.

Record or index the name(s) in the form by which the creator/collector/assembler, etc. is generally known in natural language order.³⁷

If no name has been recorded, but the subject of the content is a person, family or corporate body, express the title in a way that clearly indicates that the subject of the content is the named person, family or corporate body.³⁸

Example

Compilation on Emmanuelle Devos

Early balloon footage.

World War I patriotic marches. No. 3

Ads and tours of Seattle industry

Ponselle, Rosa. Screentests.

Theodore Roosevelt. 1905 inaugural ceremony. Speeches

James Cagney, ca. 1965. Interviews

ABC Network fall season preview. 1964-65 season. Unedited footage

optionally: Unedited footage. ABC Network fall season preview. 1964-65 season

Academy Awards, 17th. Best actor and actress. Unedited footage

optionally, Unedited footage. Academy Awards, 17th. Best actor and actress

optionally, Unedited 17th Academy Awards footage. Best actor and actress

Academy Awards. Award presentation, Conrad Nagel. Unedited footage

Anna Held. Unedited footage

CBS logo reel

Eddie Cantor and others. Unedited footage

World Series, 1956. Game no. 7. Unedited footage

For unidentified moving images, use the term “unidentified” in the title. Use numbers to distinguish separate content when there is more than one unidentified segment in a particular descriptor category.

Example

Unidentified cartoon

Unidentified cartoon. Warner Brothers

optionally: Unidentified Warner Brothers cartoon

Unidentified short about Africa

Unidentified film. James Cagney/Joe E. Brown

Unidentified equestrian film

Unidentified films. Excerpts

Unidentified film. Kay Kyser musical

optionally: Unidentified Kay Kyser musical

Unidentified film. Warner Brothers. Outtakes

optionally: Unidentified Warner Brothers outtakes

Unidentified film. Western

optionally: Unidentified Western

Unidentified newsreel. Excerpts. Auto race subjects, 1930s

Unidentified newsreel. Native American ritual dances, fifth wheel car, Fremont

High game

Unidentified newsreel, Russian

optionally: Unidentified Russian newsreel

Unidentified shorts

Unidentified television programme. Wrestling. DuMont prod. no. 1757

Travelogue. Greenland expedition. Unidentified excerpts

Unidentified television series. Quiz show. Unidentified episodes

For a more comprehensive list of form terms to use with for FULLY or PARTIALLY Supplied/Devised titles, see List of form terms for Supplied/Devised titles.

A.1.7 Titles and structuring for production materials (including out-takes, screen tests, rushes)

Constructing titles for production materials usually falls into the categories of either Partially Supplied/Devised titling or Fully Supplied/Devised titling, involving the title of the moving image with which the production material is associated + the relevant form, e.g. rushes, screen tests, etc. Titling options for production materials records have been described in both A.2.5.1 and A.2.5.2 above.

As previously mentioned though, some institutions may have systems with a specific field for Form terms and so do not wish to incorporate the form term within the title itself. It is for an institution to decide on the stylistics used with a Form element within a title, e.g. whether it will put it into round or square brackets, or separate the two elements making up the title with a full stop. See examples in A.2.5.1 [ADD INTERNAL LINK]

There are also various options of structuring and relating such production material records. The primary consideration is whether an institution opts to create a new Work record for such materials or to create just a new Manifestation/Item and link it to the Work for the main moving image.

Such decisions may depend on factors such as the quantity of such materials pertaining to a moving image or whether the quality of an acquisition allows for viewing.

Thus, for example, if an institution only acquires a single item that is production footage of a certain moving image, or several items that are on poor condition nitrate film that cannot safely be viewed, then in that instance it may decide to simply link a Manifestation/Item to the Work record for the main moving image. However, if it often acquires multiple elements of production material, such as numerous out-takes, rushes, screen tests, production footage, etc. it may decide to create a new Work and link all production material related Manifestation/Items to that, then relate the two Works in an associated relationship; or create new Works for each type of production material, and a corresponding new Manifestations with relevant Items linked accordingly. Ideally, in cataloguing the latter option is preferable if possible as it allows for a description of the specific content of each. Also, Form is an element that usually sits at the Work level, along with Genre and Subject, so in systems that use Form terms in a separate field it is better for clarity to create a Work record as well.

Whichever option is chosen, any production material Items should be linked to a Pre-release type of Manifestation [ADD INTERNAL LINK TO PRE-RELEASE MANFESTATION TYPE DEFINITION]

Below are some of the potential structuring options for the same production materials. The Item titles reflect those of the actual Item itself, i.e. what was on film leaders or film cans as acquired, or in accordance with Partially Supplied/Devised or Fully Supplied/Devised titling. The latter forms of titling have been applied to the Pre-release Manifestation and also to any new production material Works:

1. Where a new Work is created for each type of production material, each with a Pre-release Manifestation, and relevant Items linked to those; with an associated related link/reference to the released Work record:

1. Where one new Work is created as a general one for any production material, with multiple Pre-release Manifestations for each type of production material and relevant Items linked to each of those; with an associated related link/reference to the released Work record:

1. Where one new Work is created as a general one for any production material, with one general Pre-release Manifestation and all Items linked to that; with an associated related link/reference to the released Work record:

1. Where one general Pre-release Manifestation is created linked to the original released Work record and all production material Items linked to that one Manifestation:

Where an institution acquires large collections or amounts of production materials associated with a moving image or moving image serial then a structure utilising a Collection level Work with multiple linked Monographic level Works is advisable [ADD INTERNAL LINK TO WORK/VARIANT DESCRIPTION TYPE, APPENDIX D.1]. For example, the acquisition of a large quantity of production material associated with the 13-part television documentary series Hollywood (United Kingdom, 1980) [ADD LINK TO https://en.wikipedia.org/wiki/Hollywood_(British_TV_series) IN A FOOTNOTE HERE], which can be structured with the Collection Work and Monographic Works in a hierarchical relationship, e.g.:

Or, optionally, with the Collection Work being in an associated relationship with each Monographic Work:

Trailers do not strictly constitute production material as they are effectively entities in their own right, potentially with Agents that are different to those of the moving image itself. They are a type of advertisement for the moving image and have their own publication via cinema release, television broadcast, or online streaming. They would follow the titling laid out in A.2.5.1. and A.2.5.2 above and usually be linked in an associative relationship with the original moving image for which they are trailers.

A.1.8 Titles and structuring of series/serials

The guidelines and principles laid out in this section can be applicable across all the categories of Works, Variants, Manifestations and Items (WVMI).

For monographic Works that are an episode within a series or serial³⁹, and have their own individual title, the individual episode title may be used as the preferred title for the Work or Variant, or the title proper for the Manifestation and Item. However, the series/serial title should also be indicated.

The series/serial title may be indicated within (i) the title field itself, or (ii) reflected in a linked hierarchical relationship with an individual Serial Work level record, i.e. a Work assigned the Description Type “Serial⁴⁰; or (iii) added as a Title Type; or (iv) a combination. Individual institutions should select which is most appropriate for their own systems and for clarity of identification and retrieval.

Example

Work (Serial) – Mary Tyler Moore show

Work (Monographic) – Chuckles bites the dust

Manifestation – Chuckles bites the dust

Item – Chuckles bites the dust

OR

Example

Work (Serial) – Mary Tyler Moore show

Work (Monographic) – Mary Tyler Moore show. Chuckles bites the dust

Manifestation – Mary Tyler Moore show. Chuckles bites the dust

Item – Mary Tyler Moore show. Chuckles bites the dust

OR

Example

Work (Monographic) – Chuckles bites the dust (Preferred title)

Mary Tyler Moore show (Series title)

Manifestation – Chuckles bites the dust

Item – Chuckles bites the dust

A.1.8.1 Numbered episodes of a series/serial

With series/serials that contain episode or part numbers and individual episode titles the same principles apply. The preferred title/title proper of the WVMI may incorporate all these for clarity and retrieval purposes, or an institution’s systems may allow for use of the episode title combined with separate specific Part field(s) for parts and numbers, or both. Alternatively, an institution may choose to use one form for Work/Variants and another for Manifestation and/or Items. With television series additional numbered season details may also be required as well as episode/part numbers.

Any or either of the forms may be used in combination as an institution chooses, although this should be within the context of an institution establishing a clear standard in-house practice rather than individual cataloguer preference and choice.⁴¹

It is worth bearing in mind that serials are always intended to be viewed in a specified order. Therefore serial title, episode numbers, and episode titles are usually included on the Item itself or in secondary sources, and should be reflected in the record to aid in discovery and identification.

Example

Flash Gordon’s trip to Mars. Chapter 12. Ming the Merciless

Work (Serial) – Flash Gordon’s trip to Mars

Work (Monographic) – Ming the Merciless

Manifestation – Ming the Merciless

Item – Ming the Merciless

[with “Chapter 12” element being added to a separate relevant Part field]

OR

Example

Work (Serial) – Flash Gordon’s trip to Mars

Work (Monographic) – Flash Gordon’s trip to Mars.

Chapter 12. Ming the Merciless

Manifestation – Flash Gordon’s trip to Mars.

Chapter 12. Ming the Merciless

Item – Flash Gordon’s trip to Mars.

Chapter 12. Ming the Merciless

OR

Example

Work (Serial) – Flash Gordon’s trip to Mars

Work (Monographic) – Ming the Merciless

Manifestation – Flash Gordon’s trip to Mars.

Chapter 12. Ming the Merciless

Item – Flash Gordon’s trip to Mars.

Chapter 12. Ming the Merciless

The same principle can be applied to episodes of a series/serial that do not have their own individual titles but have numbered parts.

Example

Work (Serial) – Pride and prejudice

Work (Monographic) – Pride and prejudice. Part One

Manifestation – Pride and prejudice. Part One

Item – Pride and prejudice. Part One

Reflect the Part term used in any source of information, for example, “part,” “chapter,” “episode,” etc. Equally, if the number is in numerals then use those, and if alphabetical, i.e. One, Two, Three, etc., use those.

Newsreel/cinemagazine companies often had their own official titling for issues/episodes, using numbers or number/letter combinations, e.g.

• The March of Time 1st Year No.2
• Pathé News No. 62
• Filmske Novosti. Broj 43. 1972
• Actualités Françaises 1957 N.10
• The USSR Today Nr 53(9) 1960 Moscow
• Australian Diary No. 56
• DDR Magazin 13/69

These often feature on the opening titles of an item, or are listed in official catalogues of the newsreel/cinemagazine companies, and should be replicated and used as the preferred title for the Item and its linked Manifestation, and Work.

As with the other previous serials/series examples, the Work for the individual newsreel issue can also further be linked to a Work record for the newsreel Series (either via a hierarchical or related record linking, depending on your system):

Where the issue number cannot be identified, then use a date or year, if discernible, within a partially devised title, for example:

• British Paramount News. 1939
• British Paramount News. November 1939
• British Paramount News. 1939-11-05
• British Paramount News [05/11/1939]
• British Paramount News. c.1939

A.1.8.2 Episodes of a series/serial with no individual title or numbered parts

For episodes of a series/serial that have neither individual episode titles nor numbered parts, a date can be added to the title field, with the option of utilising square brackets for clarity. It is recommended to use the release/production/transmission date of the Manifestation to which the Item or Work/Variant pertains.

If a repeat broadcast of a television programme with no individual title or numbered parts has been acquired, then a new Manifestation and Item should be created with the repeat broadcast date appended to their titles. Within the hierarchical structure this new Manifestation would link to the Work that may incorporate an earlier original broadcast date within its preferred title.

The new Manifestation/Item title could be added to the Work level as an Alternative title type.

In the above example the Manifestations “Panorama [2011-01-24] and “Panorama [2011-01-30]” both link hierarchically to the same Work, entitled “Panorama [2011-01-24]” as they are broadcasts on different dates of exactly the same programme.

The original broadcast date can be entered in the Date field for the Work, and the repeat broadcast date can be entered in a Date field for the Manifestation/Item, should one exist, or in a Notes field for the Manifestation/Item.

Alternatively, if an institution prefers, a fully devised/supplied title could be used, or one taken from secondary sources. Television listings magazines or publicity often use such titles even though there is no actual title on-screen.

Thus, Panorama [2011-01-24] could also have had the preferred title of “Stop stalking me”, or “Panorama. Series 59. Episode 3”. It is often preferable to use these more descriptive partially or fully supplied/devised titles, both for greater clarity and identification and because it can be less confusing in terms of titling where repeat broadcasts may also be acquired. If using fully devised/supplied or other source titles, however, it is important to note on the catalogued record that they are not on-screen titles and cite the source used.

A.1.8.3 Analytics/Components of identified newsreels/cinemagazines

Where a complete newsreel issue has been acquired and the newsreel series has been identified, then titling follows the same principles and guidelines above.

Newsreels and cinemagazines can often be acquired as incomplete. The incomplete Items acquired may have a different title than the Manifestation and Work to which they are related. Such Items should be linked to a Work/Manifestation reflecting the whole issue, (see “British Paramount News” examples given below).

Newsreels and cinemagazines⁴² usually consisted of several separate reports that were all analytics/components of a particular issue, and also usually had inter-title headings within the newsreel itself.

If an institution acquires only a part of a newsreel issue, then any inter-title heading that is on the acquired print may be used as the title of the Item, particularly in cases where the title of the newsreel issue as a whole (i.e. the Work/Manifestation) is unknown.

For example,British Paramount news No. 856 contains the inter-titled headed segments President Roosevelt opens World Fair;70th birthday of US coast to coast railway; and, Princesses play with baby pandas.

Should an institution only acquire a reel of the segment President Roosevelt opens World Fair, then this can be designated as the title of the Item.

Where it is known with which particular newsreel issue or series the acquired segment belongs then there is also the option to incorporate the newsreel series/issue title within the title assigned to the segment, for example:

Example

British Paramount news No. 856. President Roosevelt opens World Fair

OR

Example

British Paramount news. President Roosevelt opens World Fair

Within a hierarchical structure, the Item President Roosevelt opens World Fair would be linked as “part of” the Theatrical Manifestation British Paramount news No. 856, i.e. the whole newsreel issue, which in turn would be linked to the Work record for the whole issue also with the title British Paramount news No. 856.

OR

At the Work level each of the titled analytics/components making up the whole, i.e. the separate news reports, can be added as additional alternative titles.

Alternatively, the component titles can be listed in a Summary or Description field for the Work.

Should the Item acquired incorporate more than one inter-titled component, for example only reel 2 of a 2 reel Item is acquired that includes both 70th birthday of US coast to coast railway and Princesses play with baby pandas, then a different approach may be taken. This would involve using the title of the appropriate Manifestation pertaining to the whole newsreel issue and adding qualifying details, optionally in square brackets, as a second element of the title to create a title for the Item.

Example

British Paramount news No. 856. [Reel 2]

British Paramount news No.856. (Reel 2)

British Paramount news No.856. Reel 2

OR

Example

British Paramount news No.856. [Incomplete]

British Paramount news No.856. (Incomplete)

British Paramount news No.856. Incomplete

With any inter-title designations on the print then added as alternative type titles.

Example

Preferred Title: British Paramount news No. 856. [Reel 2]

Alternative Title : 70th birthday of US coast to coast railway

Alternative Title : Princesses play with baby pandas

Alternatively, the titles of each analytic/component may be included in a notes and/or contents field.

Square brackets may be used within titles for encasing necessary extra qualifying or clarification elements that are not on the actual print.

Use the form of titling that fits with the practice of your institution. An institution may acquire both a whole copy of the newsreel/cinemagazine issue and a part of it. An Item record should be made for each, e.g.

Or it may be that only parts of a newsreel/cinemagazine episode are acquired at different times. As these will be in different cans/containers and are separate acquisitions, then they are separate Items. Again, the inter-title on the part can be used to create the title of the Item:

As mentioned previously, if preferred, then the newsreel series title can be incorporated within the episode title along with the inter-title heading:

Where a story element from a newsreel/cinemagazine issue has been acquired (but the issue it is from has not yet been identified, while the newsreel/cinemagazine series it is from is known) then the inter-title heading on the film itself should be used as the title for the Work, Manifestation and Item. The Work would constitute an Analytic Work and can be linked directly to the newsreel/cinemagazine Serial Work record.

If the full episode/issue is subsequently identified, then the Item can either be

• re-linked to a pre-existing Work/Manifestation record for the whole issue, and the Analytic Work and its Manifestation deleted/removed

or

• the Analytic Work record and its Manifestation can be revised and made into the Monographic Work episode and whole issue released Manifestation

The Item then becomes a simple partial acquisition of the whole, retaining the story element title

With some institutions, rather than a Serial – Monographic Work structure, the nature of the material they hold may mean they only ever need a Serial – Analytic Work structure. For example, an archive with a large collection of the individual story elements of multiple local regional news television programmes held on videotapes, rather than whole individual programmes – especially where the precise episode they are from is unclear or less relevant for that institution. These can be catalogued under their individual story element title, and linked to a Serial Work record for the local news series. As component parts of a whole issue the individual story elements constitute “Analytic” types.

In some collections of local news programmes only the Analytic story elements and their dates of filming are catalogued rather than the whole issues/episodes in which they featured and the broadcast date of those. If the Work/Item represents the unedited footage that was shot rather than the exact edit that was used or shown in a particular broadcast news programme, then it should have a linked Pre-Release type of Manifestation

Where such individual story elements may have been aggragated together into compilations reels, tapes, or files then see [LINK TO AGGREGATES CHAPTER AND RELEVANT SECTION] If deemed necessary or helpful for the purposes of discovery, the alternative titles added to Items should also be added to the Work level record.

A.1.8.4 Further enhanced structuring possibilities with analytic/component parts and identified newsreels/cinemagazines

There may also be instances, particularly with news and newsreel collections where a Serial-Monographic-Analytic Works construction, in a grandparent-parent-child hierarchical structure could be considered and used in certain databases that have an EN 15907 structure.

This is not a structuring or architecture that is covered within the EN 15907 Standard itself, but it is one which exploits and extends the EN 15907 basic structure model further in conjunction with Work/Variant Description types (ADD LINK TO SECTION ON THESE – WAS D.1 BUT NOW MOVED IN GITHUB DEVELOP DOCUMENT). This could suit institutions with huge newsreel collections, particularly where the individual story elements are what are searched on by users, and use of this type of structuring is also starting to evolve in some institutions in very particular scenarios.

One such is where there may be instances of the Analytic individual story elements having their own later publication, or “manifestation”, and there is a need or preference by an institution for keeping all the records together in a vertical hierarchy. It may also suit institutions with huge newsreel collections, particularly where the individual story elements of issues are what are searched on and accessed by users.

For example: Topical Budget was a British silent newsreel that ran c.1911-1931. Each episode or issue of the weekly newsreel contained 4-5 short separate news story elements.

In the early 21st century individual story elements from each newsreel issue were digitised and streamed by an institution. One Analytic component from an issue, rather than the whole issue itself, now had a new “release” Internet Manifestation in its own right using the component story element title.

For practical and efficiency reasons, as well as systems workflows, an institution may find it necessary and preferable to be able to keep everything in a hierarchy together under the Serial Work, particularly in systems where a hierarchy is visible and accessible for navigation into all linked records.

This type of 3-tier Works structuring is a logical extension of the 2-tier Serial-Monographic parent-child linked hierarchical structures used already in many institutions.[ADD THE FOLLOWING FOOTNOTE HERE This also corresponds with structures in UNESCO CCF/B (Common Communications Format / Bibliographic, UNESCO PGI-92/WS/9, Paris, 1992,(INSERT LINK) relating to vertical structuring and Series-Monograph-Component types (which are the basis for EN 15907 Description levels aka Work/Variant Description Types).]

This would then ultimately have the following record structure:

as well as additional “Other relationships” between some of these, i.e. an associative contains/contained in relationship between the Mongographic and Analytic Work and a source item/derived item relationship between the two Items.

Under existing EN 15907, usual structuring would be to create new Analytic Works (with their own new Manifestations and Items) and relate those Works to the original whole newsreel issue in which they featured, in an associative “Other Relationship”. In a system where Serial and Monographic Works usually sit in a horizontal Other Relationships structure then this can be followed, i.e.

A.1.8.5 Further enhanced structuring possibilities with large newsreel/cinemagazine or television series/serials

A further, and similar, enhanced hierarchical structuring of different types of Works records has also started to be used by some institutions in order to cope with systems response issues to accessing very large or long-running series/serials where hundreds, or even thousands, of Monographic Works (or Mongraphic and Analytic Works) are all child records of the same Serial Work. This involves the further subdividing of the Serial Work into multiple further child Serial Works by date year or decades and linking the relevant Monographic Works to these.

For example, a collection of all the UK daily morning news and magazine programme Good Morning Britain:

While not actually stipulated or covered in the EN 15907 standard model, the inherent flexibility of that model and structure does potentially enable possible stretching of the standard, and it could be argued that it is logically acceptable structuring within EN 15907.

Whilst system work-arounds that impact on data standards are not to be advocated and avoided if possible, it is recognised that this may sometimes be unavoidable and have to be done by an institution for pragmatic and purely practical reasons, particularly where there may be impacts on accessibility for both internal and external users.

In some instances, this concept could even lead to a Great Grandparent-Grandparent-Parent-Child Work hierarchical relationship structure:

A.1.8.6 Analytics/components of unidentified newsreels/ cinemagazines

Where only an analytic/component of a copy pertaining to a whole Work has been acquired as an Item, and the Serial Work to which it belongs is unable to be identified (i.e., the Item acquired is clearly a section of newsreel but the newsreel series has not been identified), then the title assigned to that Item should also be used to create the title for the Manifestation and Work records, which will then be related to each other hierarchically.

The Item title is assigned in accordance with Title and Supplied/Devised Titles (i.e. Creating titles for untitled/unidentified entities or production material).

The following paragraphs relate to Archive systems that are using the CEN structure:

Work level titles created in this way would be described as having the CEN attribute of “Analytic” and indication that the title is a supplied/devised title type. Further clarifications could then be put into synopsis/description or notes fields areas of the Work.

Should the whole Work of which the Item is a part subsequently be identified, then the Analytic record can be either modified or deleted and the Item linked via a “part of” relationship to a whole issue Theatrical Manifestation, which is in turn “part of” a whole Work, or Monographic Work.⁴³

A.1.8.7 Fragments/segments of unidentified moving images (film or television programmes)

Similar principles apply to any unidentified and incomplete segments or fragments of films or television programmes that have been acquired.

For example, a reel of a silent fiction film with no title given on either the print or can, or any indication of what it is, other than it is clearly part of a longer film, should be assigned a relevant Item title in accordance with the guidelines in Supplied/Devised Titles (i.e. Creating titles for untitled/unidentified entities or production material), for example:

Example

Unidentified silent film segment

or where possible following the who/what/where/when ordering principles in creating a devised title.⁴⁴

Example

Medieval battle segment. Unidentified silent film

OR

Example

Unidentified silent film. Medieval battle segment

The Item title would then be utilised to create the Manifestation and Work level records as well.

In such cases the Work would be assigned the attribute Monographic. Analytic is only used for a whole component rather than a fragment of a whole.

Square brackets around a whole devised title are optional, as this can alternatively be inferred by use of a Supplied/Devised Title Type designation. Many electronic systems can be punctuation sensitive, so presence of square brackets [], particularly at the start of a title, could impact on searchability.

A.1.8.8 Titles and structuring of Variant newsreel/cinemagazine episodes

With some newsreels/cinemagazines, versions were made for showing in different countries, either with a different commentator voicing it or varying differences in the stories or elements making up an issue.

For example, the cinemagazine series London Line was made in the United Kingdom but was aimed at audiences in Commonwealth countries such as Nigeria, Australia, Canada, Kenya, and Ghana, etc. as well. Each issue of the cinemagazine had a different version, i.e. one aimed at West African audiences, another East African version, another a Canadian version, etc. These versions all had component stories in common but also contained other stories/elements with a subject matter more specifically related to each geographical area. The different presenters for each version also reflected the latter.

In cases of potentially different versions of a newsreel/cinemagazine episode, there are different cataloguing options depending on varying factors.

For Item(s) that have not yet been viewed, then if the film header, can, accompanying paperwork, legacy records, etc. indicate that an item acquired is a particular version of a newsreel/cinemagazine episode, then the Item can be created and linked to the original episode Work and Manifestation. By having a partially devised title for the Item(s) the version distinctions could be indicated, e.g.

This could be a temporary measure prior to viewing, checking, and fuller cataloguing. For example, after further researches and viewing it could be established that the Work/Variant and Manifestations for what was designated “East African Version” was more specifically that released in Kenya, so titling can subsequently be revised to London Line Greets ’69 [Kenyan Version] for the Item and its linked Manifestation, and Work/Variant.

In the case of versions it is important to decide whether the content of the episode remains largely the same.

If the episode has the same content, the commentary is the same (just perhaps a direct translation in a different language with a different commentator/presenter) then the Item simply represents a Variant and/or Manifestation of the original Work.

If, for example, London Line No. 373 simply had different presenters for one version but the same commentary – or the level of difference was not yet known from researches – then the following data structures can be used:

Or if you institution does not use Variants:

The above diagrams also illustrate the structure that could be used where there is an additional separate acquisition of one of the component elements of one of the versions.

However, always create a new Work if:

• any of the content is different, e.g. two of the stories in the newsreel/cinemagazine episode are identical across all versions, but the third is different
• the stories remain the same but there are new different interconnecting segments with different presenters
• the stories/footage remains the same but the wording of the commentary is changed, e.g. to give a different slant, emphasis, or impression

Content descriptions (e.g. synopses and/or shotlists), Subjects, Cast, Credits, etc. relevant to each can then be added to the Variant or Work record accordingly. The Item which matches with these can then be linked with this Work/Variant, via a relevant specific Manifestation.

If preferred, then partially devised titles can be used for easy identification across the new Works/ Variants, Manifestations, and Items, as in the examples featured. Use whichever practice or stylistic is preferred by your institution for these, e.g. square brackets, punctuation system within the titling itself, or a corresponding title type, etc.

And if variations are minor and Variants are used, then structure would look like this:

---

1. Term “Identifying title” corresponds with EN 15907. This is the equivalent of “Uniform title” in FRBR and “Preferred title” in RDA. ↩

2. Adapted from FIAF, 1.4. Other title information, p. 25. ↩

3. Adapted from YCR, 1.3 Work access, p. 39. ↩

4. This section, including form terms and examples, is based on or taken from FIAF 1.4.3 Additions to titles;Yee/UCLA 5.1.2; AMIM2 1F1.1 ↩

5. FIAF Cataloguing Rules, p. xiii ↩

6. For simplicity’s sake, this table does not present sub-types of Title Types, i.e., sub-types of Alternative and Supplied/Devised titles. Suggested sub-types and definitions can be found under the headings for the primary Title Types. ↩

7. OLAC TF, Part 3a, p. 5. ↩

8. Both YCR (0.9.3 Normalized human-readable identifiers or headings) and EN 15907 (6.4 Identifying Title) recommend the construction of a human-readable identifier for result list displays, with disambiguation using data such as Genre, Year, etc. ↩

9. YCR, 0.9.3 Normalized human-readable identifiers or headings, p. 8 ↩

10. YCR, 1.1.2.3 Unique identifiers for works identified by title, pp. 21-22 ↩

11. In this FRBR-based context, the title of a moving image Manifestation corresponds strictly to the traditionally ISBD concept of “title proper”. Vice versa, in the previous FIAF Rules the title proper was defined as “the title of the original release in the country the origin”, which, in a FRBR-based approach, corresponds to the “preferred title” of a Moving Image Work. ↩

12. Item Title Types and definitions taken from BFI CID Stylistics Manual. 2nd Edition. May 2012 ↩

13. FIAF glossary and FIAF 1992, 1.4: “Other title information: a word or phrase, or a group of characters appearing in conjunction with, and subordinate to, the title proper of the item. Other title information also occurs in conjunction with and subordinate to: parallel titles, variations of the title proper, episode titles, contents titles, titles of series, or of subseries. Other title information qualifies, explains or completes that title to which it applies, or is indicative of the character, contents, etc. of the item or the Works contained in it, or is indicative of the motive for, or the occasion of, the item’s production. The term includes subtitles and avant-tîtres.” Differently, in the RDA glossary and RDA 2.3.4: “Other title information is information that appears in conjunction with, and is subordinate to, the title proper of a resource. It may include any phrase appearing in conjunction with the title proper that is indicative of the character, content, etc. of the resource or the motives for, or occasion of, its production of publication. Other title information includes subtitles, avant-titres, etc., but does not include variations on the title proper such as spine titles, sleeve titles, etc. (see 2.3.6 ) or designations and/or names of parts, sections, or supplements (see 2.3.1.7 ).” ↩

14. FIAF, 1.4.1.1, 1.4.1.2., 1.4.1.3., pp. 25-26. ↩

15. FIAF, 1.4.2, p. 26. ↩

16. Based on FIAF 1.4.2 ↩

17. The definition is based on the explanation of the “Variant title” title given in RDA (glossary and 2.3.6), but in this case, to avoid confusion with the “Variant” entity, the term “Alternative” has been adopted. The main reference and reason for this choice is the FIAF Glossary where “Alternative title” is in parallel with the RDA “Variant title” and practically with the same meaning: FIAF Glossary, 2008 revision, A 1.12 “Alternative Title, Alternative title. Any title by which a film is known other than the Original Title”. ↩

18. Based on FIAF 1.3. ↩

19. Based on FIAF 1.3. ↩

20. Based on FIAF 1.3. ↩

21. Based on FIAF 1.3. ↩

22. Based on FIAF 1.3. ↩

23. Based on RDA 2.3.6. ↩

24. CID Stylistics Manual – 2nd edition. BFI. 2011. ↩

25. FIAF, 1.3. Parallel title, p. 22. ↩

26. FIAF, 1.3.4., pp. 23-24. ↩

27. Such lists will normally give preference to the languages most familiar to researchers in the country of the archive. For example, the standard list for archival moving image cataloguing in the United States is: 1. U.S. title (if an American company is involved in the production). 2. U.K. title (if a British company is involved in the production). 3. Other English language title (if an English language speaking country is involved in the production). 4. French title (if a French company is involved in the production). 5. German title (if a German-speaking country is involved in the production). 6. Other Romance language title (if these language companies are involved in the production). 7. Other Germanic language title (if these language companies are involved in the production). ↩

28. Differences between FIAF 1992 and RDA: FIAF expands the concept of Parallel title to any title qualifying as an original but not used as a title proper (the attempt was to include as many alternative titles as possible), but gives to the archives the responsibility to decide whether to enter them in the appropriate area or in the Notes area. RDA makes a distinction among the different characteristics of a title and considers the parallel title strictly as “the title proper in another language or script”. In this context the RDA approach has been considered more appropriate. ↩

29. Based on OLAC (2009), Part 3a, pp. 8-9. ↩

30. This section, including form terms and examples, is based on or taken from FIAF 1.4.3 Additions to titles;Yee/UCLA 5.1.2; AMIM2 1F1.1 ↩

31. Taken almost wholly from Yee/UCLA, 5.2.2.1. Unidentified materials released or broadcast with a title ↩

32. The punctuation used is less important than following a consistent order and conforming to standard terminology. ↩

33. Adapted from DACS, 2.3.18, pp. 20-21. ↩

34. Adapted from DACS, 2.3.18, pp. 20-21. ↩

35. Based on Yee/UCLA, 5.2.3 ↩

36. DACS, 2.3.4, p. 18. ↩

37. DACS, 2.3.4, p. 18. ↩

38. Adapted from DACS, 2.3.22, p. 22. ↩

39. Serial = something which is a continuing story, for which it is necessary to have seen previous episodes to follow the story line, e.g. Pride and Prejudice, Heimat, Brideshead Revisited. Series = something which contains programmes or episodes which are complete in themselves (although they may have characters in common) for which it is not essential to have seen previous episodes in order to understand the story line/content, e.g. Cadfael. Midsomer Murders, World in Action.. BFI SIFT Inputting Manual. ↩

40. See Appendix Work/Variant Description Types for EN 15907/BFI definitions of Serial as Description Type. ↩

41. The 1991 FIAF rules stipulated that such titles should have a comma separator between the part element and individual title components of the Title, e.g., Flash Gordon’s trip to Mars, Chapter 12, Ming the Merciless. However, the trend seems to be to distinguish the different elements of such component types of titles with a full stop separator, e.g., Flash Gordon’s trip to Mars. Chapter 12. Ming the Merciless. ↩

42. BFI definitions: Newsreels = Films dating from 1910 to 1979, which report on local and international events and which were regularly screened at cinemas, e.g. Pathé News 1910-1970; Warwick Bioscope Chronicle 1910-1915; Topical Budget 1911-1931; Newsreel Flying Machine Compilation 1910. Cinemagazines = Short magazine film including more than two interest items, e.g. Aussie Oddities (1948), This Week in Britain (1950-1980) ↩

43. See Value Lists for CEN categories and definitions used by BFI ↩

44. See Supplied/Devised Titles (i.e. Creating titles for untitled/unidentified entities or production material) and examples of titling ↩