On the contrary, I think you are confusing work with superwork, Jonathan (smile). FRBR itself treats Zeffirelli's film of Romeo and Juliet as a different but related work vis a vis Shakespeare's Romeo and Juliet (see p. 18 of the 2008 revision at <http://www.ifla.org/VII/s13/frbr/index.htm>). A film is essentially a visual (cinematographic) work, while a play is a textual work; the changes from the words on the page (or the music on the page) to the film are so major that Anglo-American cataloging practice has traditionally considered the changes to constitute adaptation creating a new work. Remakes, too, create new, related, works, since they are created by entirely new personnel.
Martha -----Original Message----- From: Resource Description and Access / Resource Description and Access [mailto:[EMAIL PROTECTED] Behalf Of Jonathan Rochkind Sent: Tuesday, March 11, 2008 12:29 PM To: [email protected] Subject: Re: [RDA-L] Cataloger Scenarios added to wiki Wait, if they do a remake of the film, isn't that the same work (but a different expression)? For that matter, isn't every film version of Hamlet all part of the same work ("Hamlet"), but differnet expressions (with different actors?) To me, you are confusing work and expression. Seems to me they remake a different film version of the same _work_ not infrequently. It doesn't need to even be the exact same script to be the same _work_, does it? Jonathan McGrath, Kelley C. wrote: > Greta wrote... > > Scenario 3. > > And I hate to be a broken record, but in films Actors would be > associated with the work, not the expression. They are not going to > reshoot the film with different actors. (ok, in case anybody knows > about them, i'm ignoring the early talkie films which were > simultaneously shot in different language versions with casts that are > sometimes the same, sometimes different--they are borderline cases. I > would not consider the shot for shot remake of Psycho a borderline case) > > -------------------------------------------- > > Diane, > > Thanks for changing the actors. I would also like to thank you for > modeling your moving image scenario on Martha Yee's chapter rather than > what has been in the RDA drafts to date. So far the RDA drafts have been > rather at odds with the way the other OLAC (Online Audiovisual > Catalogers) reviewers and I would have thought of moving image works > (leaving aside the potentially messy question of recordings of live > performances of previously existing works) and have put not only actors, > but directors, cinematographers, and producers at the expression level. > This is true even in the fairly recent draft appendix dealing with roles > (http://www.collectionscanada.gc.ca/jsc/docs/5lc11.pdf). Or perhaps you > know something I don't about future RDA directions? > > Kelley McGrath > -- Jonathan Rochkind Digital Services Software Engineer The Sheridan Libraries Johns Hopkins University 410.516.8886 rochkind (at) jhu.edu
