If i understand Martha's scenarios, i think that there is an original aspect ratio (just like there is an original language), and that belongs with the work, while any deviation from that becomes a characteristic of the expression. However, i think its possible that there could be some of these expression characteristics that might be at work level and stay there unless and until a different expression was released (like, say, re-dubbing part of the soundtrack or rerecordining with a different narrator). In other words, we might not know something is an expression until a different expression appears.
greta Quoting "McGrath, Kelley C." <[EMAIL PROTECTED]>:
Greta wrote... ...Jane can finally gets down to the manifestation: Place of Publication: Beverly Hills, Calif. Publisher: Twentieth Century Fox Home Entertainment Date: 2007 Media type: DVD; Other technical characteristics: NTSC, all region, full frame, choice of Dolby 5.1 or stereo for the music track (uh oh, Jane wonders if these constitue different expressions, but decides not to think about it abd just lets this pass). Extent: 2 videodiscs : sd., b&w, 4 3/4 in. -------------------------------- I wonder if, in addition to the music tracks, a couple other pieces of information (aspect ratio, sound, color) ought not to be at the expression level because if they changed it would be a change in content (or at least that's how I'm reading Martha's book chapter at http://repositories.cdlib.org/cgi/viewcontent.cgi?article=6113&context=p ostprints) I also tend to think, although I don't know if it makes sense to model it here, that in practice it would be far easier for most moving image situations, especially DVDs, to only created explicit expression-level records for what I think of as "named expressions" or things like director's cut, theatrical release, or unrated version, although there are many variations that we'll never have the info to track (what cataloger is going to track down the real differences among all the Star Wars video releases, even though we know that what you buy on DVD now is not necessarily the same as what you saw in the theater in 1977). There are just too many dimensions to the typical moving image expression to make it efficient to create and later search for and link to individual expression records for everything. It would seem to me more practical to explicitly code the relevant expression-level characteristics that lend themselves to standardized coding (things like language info, aspect ratio, color, and sound) in the manifestation records and have the computer collocate the expression level display on the fly. Kelley McGrath
