Creider's asks, "One question I have for Martha is why a change in actors results in a different work?" I would argue that moving images are essentially visual works, not textual ones; in order to change a textual work into a visual work, adaptation is inherently necessary. The situation is complicated by the fact that it is possible to use moving image as a mere recording medium. I don't mind identifying a stage performance of Shakespeare's Romeo and Juliet as a work by Shakespeare when the stage performance has been recorded by a stationary video camera. When Shakespeare's play is transformed into a moving image (visual) work by the contributions of screenwriters, cinematographers, editors and directors, however, I believe a new related work has been created. Anglo-American practice hitherto has agreed with me, as does FRBR in the Zeffirelli example...
Hope that clarifies my position? Martha %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% Martha M. Yee Cataloging Supervisor UCLA Film & Television Archive 1015 N. Cahuenga Blvd. Los Angeles, CA 90038-2616 323-462-4921 x27 323-469-9055 (fax) [EMAIL PROTECTED] (Email at work) Campus mail: 302 E. Melnitz 132306 1413 Quintero St. Los Angeles, CA 90026-3417 213-250-3018 213-250-3018 (fax) [EMAIL PROTECTED] (Email at home) http://myee.bol.ucla.edu (Web page) %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% "You have a dollar. I have a dollar. We swap. Now you have my dollar and I have your dollar. We are not better off. You have an idea. I have an idea. We swap. Now you have two ideas and I have two ideas. Both are richer. When you gave, you have. What I got, you did not lose. Thats cooperation"Jimmy Durante quoted in Schnozzola, by Gene Fowler, 1951, p. 207-208.
