The concepts of work and related work as they apply to moving image works is discussed and recommendations made for their application to moving image materials.

The method of integrating rules for nonbook materials with those for print materials in AACR2 is examined to see how well nonbook materials are handled and whether the treatment of print materials is affected. Both choice of entry rules and rules for description are examined to see whether their provisions are in accordance with the needs of users of these materials, and/or the patterns of publication and identification of these materials. Areas needing further research are identified.

see http://repositories.cdlib.org/postprints/2711

The frequency of occurrence of moving image versions (i.e., expressions), here called manifestations, the types of differences that can occur from one moving image manifestation (i.e., expression) to another, and the kinds of visible indicators, accessible to catalogers, that are associated with these differences were measured. It was found that continuity, i.e., intellectual and artistic content, varies frequently, 39% of the time; an additional 7% of works had added subsidiary matter, and an additional 12% of works have differences in language and sound track. In other words, a total of 58% of the works sampled had at least one instance of difference in intellectual and artistic content between two items. Only 8% of the works in the sample were mentioned as having manifestations (i.e., expressions) in standard reference sources such as Maltin. Visible indicators and physical format of films are very unreliable indicators of actual difference in intellectual and artistic content; 48% of the time, visible indicators vary with no underlying difference in continuity; 23% of the time, continuity varies with no difference in visible indicators. Length differences of three minutes or more are the most reliable indicators of actual difference in intellectual and artistic content. Of the titles with difference in continuity, 72% of these manifestations (i.e., expressions) were detectable by means of length difference. This corresponds to previous findings for books, which indicate paging is the most reliable indicator of true differences in manifestation (i.e., expression).

Differences between manifestations (i.e., FRBR expressions) and near-equivalents (i.e., FRBR manifestations) that might be considered significant by catalog users are examined. Anglo-American cataloging practice concerning when to make a new record is examined. Definitions for manifestation (i.e., expression), title manifestation, and near-equivalent (i.e., FRBR manifestation) are proposed. It is suggested that current practice leads to making too many separate records for near-equivalents. It is recommended that practice be changed so that near-equivalents are more often cataloged on the same record. Next, differences between manifestations (i.e., expressions) and near-equivalents (i.e., FRBR manifestations) of moving-image works are examined, and their significance to users of moving-image works is assessed. It is suggested that true manifestations (i.e., expressions) result when the continuity, i.e., visual aspect of the work, or the soundtrack, i.e., audio aspet of the work, or the textual aspect of the work actually differ, whether due to editing, the appending of new material, or the work of subsidiary authors creating subtitles, new music tracks, etc. Title manifestations can occur when the title or billing order differs without there being any underlying difference in continuity. Distribution information can differ without there being any underlying difference in continuity, creating a near-equivalent (i.e., FRBR manifestation). Finally, physical variants or near-equivalents (i.e., FRBR manifestations) can occur when physical format differs without the involvement of subsidiary authors.

Problems users are having searching for known works in current OPACs are summarized, and it is suggested that a better understanding of AACR2R/MARC 21 authority, bibliographic, and holdings records would allow us to FRBR-ize our current OPACs using existing records. The presence of work and expression identifiers in bibliographic and authority records is analyzed. Recommendations are made concerning better indexing and display of works and expression/manifestations. Questions are raised about the appropriateness for the creation of true catalogs of client-server technology which delivers records over the Internet.

This article provides a review of the ten-year period at the Library of Congress (LC) during which attempts to deal with the "crisis in cataloging" set the stage for the profound changes in Anglo-American cataloging theory and rules that occurred during the 1950s and 1960s. The review centers around the previously unpublished report of the Librarian's Committee, which recommended reorganization, simplified cataloging, cooperative cataloging, changes in personnel policies, and changes in methods of cost analysis. Each of these recommendations is examined in detail, and the results of implementation are traced through the decade that followed.

See http://repositories.cdlib.org/postprints/2710

Various criteria suggested by cataloging theorists as methods for identifying a work are examined, including criteria of creativity and/or single personal authorship, criterion of content, criterion of text or symbol strings, criterion of medium, work as product, criteria of identity and representation, criterion of interchangeability or preferability, and a definition of work is suggested.

Anglo-American codes are examined to determine the implicit or acting concept of work in each, in order to trace the development of our current implicit concept of work, as embodied in AACR2R. The following conditions are examined, using comparison tables: 1) same work with different appendages (illustrated works, music with text, texts with commentary and/or biographical/critical material, scholia); 2) separately published parts of a work produced by the exercise of several different functions; 3) appendages to a work published separately (commentaries without text, concordances, continuations, indexes, sequels, supplements); 4) change in title of a work. A trend away from the collocation of the editions of a work called for by the second objective of the catalog is identified. It is suggested that this tendency stems from failure to take advantage of newer technologies for building catalogs.