I was dealing only with the case presented, which was a collection of music from movies -- and the individual selections in such a collection. The discussion could be generalized in several directions, but I don't think I was doing that.
The question as to whether related work relationships should be reciprocal is an interesting one. RDA allows for both, and many linked-data systems will automatically generate the reciprocal whenever such a relationship is recorded. Frankly I think the related work information is most interesting in the description of the derivative work (referring to the source of that work), but I'm sure there are valid use cases for including them in the description of the source work -- generating (so to speak) a list of all the derivatives of that work. John Attig Authority Control Librarian Penn State University jx...@psu.edu ----- Original Message ----- | From: "Joan Wang" <jw...@illinoisheartland.org> | To: RDA-L@LISTSERV.LAC-BAC.GC.CA | Sent: Tuesday, October 9, 2012 3:37:00 PM | Subject: Re: [RDA-L] Question about example in RDA 18.5.1.3 | John | I am sorry. Do you mean a collection of music or just a movie music? | Also do you mean recording the relationships in both sides? | Thanks, | Joan Wang | On Tue, Oct 9, 2012 at 2:19 PM, JOHN C ATTIG < jx...@psu.edu > wrote: | | No, they are either | | | (a) contributions to the realization of the movie, typically | | recorded | | in the description of the movie as notes and/or authorized access | | points for the person responsible; | | | or | | | (b) works described in their own right (typically in authority | | records) and recorded in the description of the compilation (or the | | analytic description) as related works. | | | John Attig | | | Authority Control Librarian | | | Penn State University | | | jx...@psu.edu | | | | From: "Gene Fieg" < gf...@cst.edu > | | | | | | To: RDA-L@LISTSERV.LAC-BAC.GC.CA | | | | | | Sent: Tuesday, October 9, 2012 2:42:36 PM | | | | | | Subject: Re: [RDA-L] Question about example in RDA 18.5.1.3 | | | | | | Let's see here. I recently subscribed to KUSC and my gift for | | | giving | | | was music from movies, whether originally composed for the movies | | | or | | | not. Perhaps, it would be catalogued as a collection of music, | | | but | | | then how would you created analytics, if you wanted to? Also | | | Sprach | | | Zarathustra was part of Space Odyssey : 2001, but it wasn't | | | composed | | | for movie. Neither was the Blue Danube. Have they now become | | | expressions of the movie???? | | | | | | On Tue, Oct 9, 2012 at 11:06 AM, Benjamin A Abrahamse < | | | babra...@mit.edu > wrote: | | | | | | | Lots to think about! Thanks everyone, | | | | | | | | | | --Ben | | | | | | | | | | Benjamin Abrahamse | | | | | | | | | | Cataloging Coordinator | | | | | | | | | | Acquisitions, Metadata and Enterprise Systems | | | | | | | | | | MIT Libraries | | | | | | | | | | 617-253-7137 | | | | | | | | | | -----Original Message----- | | | | | | | | | | From: Resource Description and Access / Resource Description | | | | and | | | | Access [mailto: RDA-L@listserv.lac-bac.gc.ca ] On Behalf Of | | | | Kevin | | | | M | | | | Randall | | | | | | | | | | Sent: Tuesday, October 09, 2012 2:02 PM | | | | | | | | | | To: RDA-L@listserv.lac-bac.gc.ca | | | | | | | | | | Subject: Re: [RDA-L] Question about example in RDA 18.5.1.3 | | | | | | | | | | Benjamin Abrahamse wrote: | | | | | | | | | | > In your initial email response to me (thanks!) you stated | | | | > Eastwood | | | | | | | | | | > gets "composer (expression"), | | | | | | | | | | > | | | | | | | | | | > " because the music is simply one aspect of the realization | | | | > of | | | | > the | | | | | | | | | | > moving- image work ". Likewise you later clarified, assign | | | | | | | | | | > relationships as expression-level,"[i]f the relationship | | | | > involves | | | | > the | | | | | | | | | | > realization rather than the creation of the work. " | | | | | | | | | | > | | | | | | | | | | > Isn't that more or less true of every aspect of a film? The | | | | > script, | | | | | | | | | | > the directing, production… all is about "realizing" | | | | > something. | | | | | | | | | | > Sometimes, so the oldest story in Hollywood goes, what is | | | | > "realized" | | | | | | | | | | > has virtually nothing to do with what the author of the | | | | > script | | | | > intended. | | | | | | | | | | > | | | | | | | | | | > So what aspects of a moving-image work would be considered | | | | > properly | | | | | | | | | | > part of the "work" and not "simply one aspect"? | | | | | | | | | | I have to say that I have the same kind of difficulty with the | | | | distribution of responsibility categories between work and | | | | expression. I'm not sure why "author", "director", "director of | | | | photography", "producer" and "production company" are | | | | associated | | | | with *work* while all other aspects are associated with the | | | | *expression*. It seems rather arbitrary. Take, for example, | | | | BRAM | | | | STOKER'S DRACULA (1992): are the contributions of Gary Oldman | | | | (actor), Eiko Ishioka (costume designer), Wojciech Kilar | | | | (composer) | | | | and Thomas Sanders (production designer) any less a part of the | | | | work | | | | than those of James V. Hart (screenwriter), Francis Ford | | | | Coppola | | | | (director), Michael Ballhaus (director of photography)? In my | | | | mind, | | | | all of these people belong on the same FRBR Group 1 level in | | | | relationship to the film. | | | | | | | | | | Kevin M. Randall | | | | | | | | | | Principal Serials Cataloger | | | | | | | | | | Northwestern University Library | | | | | | | | | | k...@northwestern.edu | | | | | | | | | | (847) 491-2939 | | | | | | | | | | Proudly wearing the sensible shoes since 1978! | | | | | | | | | -- | | | | | | Gene Fieg | | | | | | Cataloger/Serials Librarian | | | | | | Claremont School of Theology | | | | | | gf...@cst.edu | | | | | | Claremont School of Theology and Claremont Lincoln University do | | | not | | | represent or endorse the accuracy or reliability of any of the | | | information or content contained in this forwarded email. The | | | forwarded email is that of the original sender and does not | | | represent the views of Claremont School of Theology or Claremont | | | Lincoln University. It has been forwarded as a courtesy for | | | information only. | | | | -- | Joan Wang | Cataloger -- CMC | Illinois Heartland Library System (Edwardsville Office) | 6725 Goshen Road | Edwardsville, IL 62025 | 618.656.3216x409 | 618.656.9401Fax
