Videocassette original cataloging checklist

To: Documentation Group
From: Steven Arakawa
Date: (8/25/03 creation date/ November 4, 2004 5:52 PM revision date)


Definitions. See Video glossary.    245 $c Statement of responsibility
Fixed fields: see Fixed fields checklist    250 Edition
Examples of when to make a new record.    246 Variant titles
AMIM or AACR2    260 -300 Publication, Physical description
Chief source.    4xx /8xx Series
Choice of entry.    5xx Notes
028 - 024 - 037 - 044    7xx Added entries
050    6xx Subjects
130 Uniform title   Related documents
245 $a $n $p $hTitle proper     

Examples of when to make a new record. (YUL)

1. Different publisher. When in doubt, use the record found and edit it to match the item in hand. [1]

Compare two RLIN clusters:

Original record by MiU; one other record in the cluster.

245 0 0 ‚a Our hospitality ‚h [videorecording] /‚c Buster Keaton Productions, inc.
260     ‚a New York, N.Y. : ‚b HBO Video [distributor], ‚c c1984.
300     ‚a 1 videocassette (75 min.) : ‚b sd., b&w ; ‚c 1/2 in.
500     ‚a "Thames video collection"--Container.


MiU record modified by MnU; one other record in the cluster.


245 0 0 ‚a Our hospitality ‚h [videorecording] /‚c Buster Keaton Productions, inc.
260     ‚a New York, N.Y. : ‚b Rohauer Collection ; ‚b HBO Video [distributor], ‚c c1984.
300     ‚a 1 videocassette (75 min.) : ‚b sd., b&w ; ‚c 1/2 in.
500     ‚a "Thames video collection"--Container.

2. Different edition (Special ed. vs. no ed. statement; Special ed. vs. Collector's ed.)

3. Black and white vs. color (or colorized)

4. Sound vs. silent (e.g. a video of a silent film without a soundtrack vs. a silent film with a soundtrack)

5. VHS NTSC vs. VHS PAL vs. VHS SECAM (NTSC is compatible with standard U.S. vcrs; PAL and SECAM are not, although they may be played back on special "universal" vcrs)

6. VHS vs. DVD

7. Dubbed version vs. subtitled version

8. Subtitles in English vs. subtitles in Cantonese

9. Widescreen (letterbox/lbx) vs. full-screen (pan and scan)

10. Theatrical release vs. "Director's cut"

11. Theatrical release vs. theatrical release plus "making of" documentary

A change in copyright on the box or sleeve will sometimes just reflect a change in packaging design; if this is the only change, generally do not create a new record or update the cataloging copy. (YUL)

If the bibliographic record does not indicate closed captioning, and the copy in hand has closed captioning, generally just update the bibliographic record unless you are certain that two versions exist. (YUL) See also instructions for notes in 546 and subject access under Subjects.

AMIM or AACR2. The Library of Congress uses AMIM (Archival Moving Images Material manual) for its video cataloging. PCC uses AACR2; Yale uses AACR2, even for archival cataloging. If a PCC rule interpretation exists, it will be recorded at the appropriate rule number in the LCRIs. In the absence of a PCC RI, follow the local rule interpretations recorded here and identified as (YUL). Most of the local interpretations are based on common utility practice.

Chief source. (7.0B1) The chief source is (in order of preference):

a) the title and credit frames (opening AND closing; be sure to check at the end of the video.)

b) If the item is not playable because we lack the playback equipment for the item to be cataloged, the chief source is the container. For purposes of determining chief source, the "container" is the videocassette and its label, NOT the box or sleeve it comes in (despite what it says in the AACR2 glossary). Option b) also applies when the video itself lacks credit information but credit information is found on the container, e.g. the videocassette label.

(YUL:) Since the title on the container sometimes differs from the title on the frames, for original cataloging every effort should be made to find a suitable playback device and view the actual video. Although not required, for the benefit of shared cataloging include a source of title proper note if option b) is used. (See example in the Notes section for 7.7B3.)

If information is not available from a) or b), take it from (in order of preference):

  • accompanying textual material
  • container (if not an integral part of the piece, i.e., the box or sleeve) [2]
  • other sources

Note that if the title and statement of responsibility are not taken from a) or b), the information must be enclosed in square brackets; for example, title & statement of responsibility information taken from accompanying material, or the box/sleeve, must be in square brackets.

Prescribed sources for the other areas. No order of preference is given if more than one source is provided. If information is not taken from one of the sources listed below, it must be recorded in square brackets.

Edition (250) chief source, accompanying material, container (including the box or sleeve)

Publication, distribution, etc. (260)

chief source, accompanying material, container (including the box or sleeve)
Physical description (300) any source
Series (4xx/8xx) chief source, accompanying material, container (including the box or sleeve)
Note (5xx; 246) any source
Standard number & terms of availability (020, 028, 024) any source

Choice of entry.

Videos are generally entered under title, based on AACR2 21.1C1, where the cataloger is instructed to enter under title when personal authorship is diffuse and the work does not emanate from a corporate body. Some exceptions might be: video art, where in some cases the video is totally conceived and executed by a single individual, a video about a business firm commissioned by the firm, or a video of a conference if the conference is named.

Note that AACR2 21.1B2, e), a music video by a performing group "where the responsibility of the group goes beyond that of mere performance, execution, etc." is entered under the name of the group. For performance situations, LCRI 21.23C applies the rules for sound recordings to videorecordings when the video contains works by different persons or bodies (entry under "principal performer).


028 Publisher number (Required if available)

028 4 0 ‚a VM5108 ‚b Vidmark Entertainment

4=publisher no. is for video

0=no additional note or added entry

$b=label name

037 Distributor stock number (Optional)

Not recommended that the option be used. For cataloging copy, if the publisher number has been entered in 037, leave it as is. Where the publisher number was entered prior to format integration. It is now used only for distributor's stock numbers. Weitz: "Generally, consider numbers that are not permanently affixed to the videorecording (for instance, numbers that are stamped on an item or that appear only in a distributor's catalog) as stock numbers" (pp. 73-74).

044 Country of Publication/ Producing Entity (Optional)

Not recommended that the option be used, but leave on source copy. Used if more than one country is associated with the production. Use the MARC 21 country codes. The first code should match the code used in the Place of Publication fixed field. Note that the Place of Publication is the country of production as determined from 245 $c, not from 260. Use a separate $a for each country. Indicators are blank. Enter codes at the country level, not the state level.

Example: joint Italian, French, United States production; Italian company named first and recorded in fixed field.

044     ‚a it ‚a fr ‚a us



  1. Note that 050 is not required for pcc video.
  2. SML requires LC classification for all videos. Documentary films are classified by topic; in such cases use 050 _4. LC classification does not cover feature films, so use the local instructions at

    If local modification for feature films is used, do not create an 050 _4; provide an 050 _4 if an LC number can be assigned without local modification.


Although there is not yet an official standard, consult and follow the most current draft LCRI for 25.5B. The "PCC Practice for Assigning Uniform Titles (Cataloging a Motion Picture Itself)" and "PCC Practice for Assigning Uniform Titles (Cataloging a Television Program Itself)" described therein will be applied to video formats as well.


  • Uniform title assigned if title of the motion picture conflicts with the title proper of any other bibliographic resource
  • For motion picture uniform titles, qualifier is always "(Motion picture);" for television program uniform titles, qualifier is always "(Television program)"[if in doubt whether a motion picture or television program, use (Motion picture)]
  • Additional qualifiers (in order): year of original release, director, production company
  • Different titles in the same language (U.S. title vs. British title)
  • Dubbed motion pictures (qualify by the language)
  • Motion picture with translated intertitles (qualify by language)
  • Subtitled motion picture released under a different title (do not qualify by language)
  • Filmed simultaneously in different languages under different titles (apply 25.5C3)
  • Distinguishes for both motion pictures and television programs between "individual titles intended to be viewed consecutively" and "individual titles not intended to be viewed consecutively." Treatment is distinguished by the presence or absence of the episode number; treatment is applied to 130 or 245 as appropriate (see first bullet). See 245 $a $n $p $h. Television episodes.
  • Treatment of television compilations. See 245 $a $n $p $h. Television episodes.

245 $a $n $p $h

LCRI 7.1B1 notes that LC does not follow AACR2, but also includes PCC practice. Follow PCC practice cited here when transcribing video titles:

When credits for performer, author, director, producer, "presenter," etc., precede or follow the title in the chief source, in general do not consider them as part of the title proper, even though the language used integrates the credits with the title. (In the examples below, the underlined words are to be considered the title proper.)

Twentieth Century Fox presents Star wars
Steve McQueen in Bullitt
Ed Asner as Lou Grant
Jerry Wald's production of The story on page one
Ordinary people, starring Mary Tyler Moore and Donald Sutherland
Thief, with James Caan

This does not apply to the following cases:

1) the credit is within the title, rather than preceding it;

CBS special report
IBM--close up
IBM puppet shows

2) the credit is actually a fanciful statement aping a credit;

Little Roquefort in Good mousekeeping

3) the credit is represented by a possessive immediately preceding the remainder of the title.

Neil Simon's Seems like old times

245 $h [videorecording]. The GMD is required for videorecordings. Note that $h is entered after $p.

245 0 0 ‚a Star wars. ‚n Episode I, ‚p The phantom menace ‚h [videorecording] / ‚c 20th Century Fox ; a Lucasfilm Ltd. production ; written and directed by George Lucas ; produced by Rick McCallum.

Television episodes.

Per the draft LCRI 25.5B (see 130 above), the name of the television series is entered in 245 $a and the episode should be entered as a dependent title using $n $p.

Generally accept cataloging copy that follows the alternative practice [3]. One possible exception might be if a number of separate episodes following different practices were being cataloged at the same time; in that case it would be better to follow one or the other practice for all episodes.


The RI requires that television episodes meant to be viewed consecutively (as in the following example) must include a $n subfield (numeric designation).

Note that $h follows $p.

"Giving 246 title access or not [to the $p title] is based on the character of the individual title and a judgment of the usefulness of title access in that form."--RI.

245 0 4 ‚a The Civil War. ‚n Episode 1, ‚p 1861--the cause ‚h [videorecording] / ‚c a Florentine Films production ; produced in association with WETA-TV ; executive producer, Ken Burns ; produced by Ken Burns and Ric Burns ; a film by Ken Burns ; written by Geoffrey C. Ward and Ric Burns with Ken Burns.
246 3 0 ‚a 1861--the cause

In the absence of a numeric designation on the resource, a $n subfield should be supplied in the form [yyyy-mm-dd].

If the television episode does not have to be viewed as part of a consecutive sequence, generally leave out the numeric designation when an episode title is available. Unlike serials, a 130 is not made solely to remove the initial article in $p. Note use of 246 to provide access to the title/episode number combination in cases where the RI instruction is to leave out the numeric designation in the title proper.

245 0 0 ‚a Tanner '88. ‚p The night of the Twinkies ...
246 3 0 ‚a Night of the Twinkies
246 3   ‚a Tanner '88. ‚n Volume 1

News-show episodes do not fall into the consecutive sequence category unless there is some explicit indication of "consecutiveness" (e.g. Nightline. Conversations with Secretary of State Colin Powell, part one.)

245 0 0 ‚a Nightline. ‚p Another budget showdown ‚h [videorecording] / ‚c ABC News.
246 3 0 ‚a Another budget showdown

In the absence of an individual title, use a numeric designation:

245 0 0 ‚a America 2night. ‚n Episode no. 233 ...
246 3   ‚a America tonight. ‚n Episode no. 233

In the absence of an episode title or a numeric designation on the resource, a $n subfield should be supplied in the form [yyyy-mm-dd].

245 0 0 ‚a Meet the press. ‚n [1985-10-06] ‚h [videorecording] / ‚c a public affairs presentation of NBC News ; producer, Betty Cole Dukert ; directed by Chuck Tyler.

The 130 is assigned only if the television series title needs to be qualified.

130 0   ‚a Nova (Television program). ‚p Case of the frozen addict.
245 1 4 ‚a Nova. ‚p The case of the frozen addict ‚h [videorecording] / ‚c WGBH.
246 3 0 ‚a Case of the frozen addict

Keep in mind that for a multipart set treated as classed-together (analyzed), the analytics would get a $n subfield only if the parts of the set were intended to be viewed consecutively. A 5 part c-t analyzed set for the history of Islamic civilization would require $n in the 245 for the analytics; a multipart "Shakespeare's plays on video" would not get a $n in the 245 for the analytics.

Compilations. For "programs telecast in a particular season or selections covered by a special rubric, such as "The best of ...," collocate ... by using the uniform title of the work as a whole followed by 'Selections.'"

130 0   ‚a Sex and the city (Television program). ‚k Selections.
245 1 0 ‚a Sex and the city. ‚n The complete fifth season ‚h [videorecording] ...

245 $c Statement of responsibility. AACR2 7.1F1 instructs to transcribe from the chief source the names credited with "a major role in creating a film (e.g., as producer, director, animator)." All other statements of responsibility ("including those relating to performance") should be given in the notes (511, 508).

Include the screenwriter in the statement of responsibility; source copy should not be recataloged if the writer is recorded in 508. (YUL) [4]

Examples from the Orbis database (source copy is primarily from OCLC):

245 0 0 ‚a Baraka ‚h [videorecording] / ‚c a Mark Magidson Production ; directed and photographed by Ron Fricke ; produced by Mark Magidson ; original treatment written by Genevieve Nicholas, Constantine Nicholas, Ron Fricke ; concept and scenario, Ron Fricke, Mark Magidson, Bob Green.


245 0 0 ‚a Against the odds ‚h [videorecording] : ‚b the artists of the Harlem Renaissance / ‚c PBS ; produced by the New Jersey Network ; producer/director, Amber Edwards.


245 0 0 ‚a Champagne safari ‚h [videorecording] / ‚c Kino International ; Arcane Pictures ; produced for video by Andrew Lerman ; commentary written by Lawrence Klingman and Jackson Leighter ; entire production compiled by Herbert L. Bregstein.


245 0 0 ‚a Tango ‚h [videorecording] / ‚c Pandora Cinema presents an Argentinian-Spanish coproduction ; Argentina Sono Film ; Alma Ata International Pictures ; a Juan C. Codazzi production idea ; produced by Luis A. Scalella, Carlos L. Mentasti and Juan C. Codazzi ; written and directed by Carlos Saura.

Comment: the statement of responsibility for Tango could be transcribed more economically while remaining within the AACR2 guidelines. The following transcription is from an RLIN NJPG record for the same manifestation:

245 0 0 ‚a Tango ‚h [videorecording] / ‚c Pandora Cinema presents an Argentinian-Spanish coproduction ; Argentina Sono Film ; Alma Ata International Pictures ; written and directed by Carlos Saura.

246 Variant titles. (7.7B4)

If a title variation requires access, use 246. Whether access is made is cataloger judgment, bearing in mind that computer retrieval is unforgiving of even small variations. See also use of 246 to bring out $p titles in 245 section on television programs.

(YUL): Although AACR2 "container" could be used in the first three examples, the reference is ambiguous for videocassettes, so a more specific term has been used.

Title on videocassette label varies from the title on the video.

245 0 0 ‚a Thelma & Louise ‚h [videorecording] / ‚c Pathâe Entertainment, a Percy Main production ; directed by Ridley Scott ; produced by Ridley Scott and Mimi Polk ; written by Callie Khouri.
246 1   ‚i Title on cassette label: ‚a Thelma and Louise

Title printed on the videocassette varies from the title on the video:

245 0 0 ‚a Mission, impossible 2 ‚h [videorecording] / ‚c Paramount Pictures presents a Cruise/Wagner production ; a John Woo film ; producers, Tom Cruise, Paula Wagner ; story by Ronald D. Moore & Brannon Braga ; screenplay writer, Robert Towne ; director, John Woo.
246 1   ‚i Title on cassette: ‚a MI-2

Title on box varies from the title on the video. "Container" could be used, but the term is ambiguous and could refer to the cassette:

245 0 0 ‚a 20,000 leagues under the sea ‚h [videorecording] / ‚c Walt Disney Pictures ; producer, Walt Disney ; writer, Earl Felton ; director, Richard Fleischer.
246 1   ‚i Title on box: ‚a Twenty thousand leagues under the sea.


Title on guide varies from the title on the video:

245 0 0 ‚a Dance in the twentieth century ‚h [videorecording] / ‚c WGBH.
246 1   ‚i Title on guide: ‚a Dance in the 20th century

CAUTION: Use 246 for variant title notes, not for source of title notes, which use 500. See examples under Notes. Source of title proper.

Title entered under possessive:

245 0 0 ‚a Walt Disney's Fantasia ‚h [videorecording] / ‚c Walt Disney Pictures.
246 3 0 ‚a Fantasia

246 is not generally made when credits preceding the title proper are dropped (or in some cases transcribed in the statement of responsibility). Additional access is cataloger judgment.

Title on frames: Walt Disney's masterpiece Bambi.

245 0 0 ‚a Bambi ‚h [videorecording] / ‚c produced and written by Harry Arends, Phil Savenick.
246 3 0 ‚a Walt Disney's masterpiece Bambi

Title on frames: Twentieth-century fox presents Star wars. (No 246 made for: Twentieth-century fox presents ...)

245 0 0 ‚a Star wars ‚h [videorecording] / ‚c Lucasfilm, Ltd. ; written and directed by George Lucas ; produced by Gary Kurtz.

Other variations:

245 0 0 ‚a 1 pm ‚h [videorecording] / ‚c Leacock Pennebaker Inc. ; filmed by Jean-Luc Godard, Richard Leacock, D A Pennebaker.
246 3   ‚a One pm
246 3   ‚a 1 p.m.
246 1   ‚i Working title: ‚a 1 am

250 Edition area.

  • This field should end with a period.
  • Note that prescribed sources are: chief source, defined as: a) title frames b) "container," i.e., cassette and label, or, accompanying material, or "container," i.e., box or sleeve. Information taken from "container" by either definition does not require square brackets.
  • Note that the term "edition" or the equivalent is not a requirement for transcribing in 250. The OLAC guidelines on edition statements for DVDs are probably generalizable for video cataloging practice : "statements that distinguish one manifestation from another should be treated as edition statements, whether they carry the word 'edition' or not ..."


250     ‚a Restored version.

250     ‚a 10th anniversary ed.

250     ‚a Letterbox format.

250     ‚a Unrated director's cut.

250     ‚a Full screen version.

260 Publication, distribution, etc. area. Note that prescribed sources are: chief source, defined as: a) title frames b) "container," i.e., cassette and label, or, accompanying material, or "container," i.e., box or sleeve. Information taken from "container" by either definition does not require square brackets.

260     ‚a Irvington, N.Y. : ‚b Criterion Collection ; ‚a [Los Angeles, Calif.?] : ‚b Janus Films, ‚c c2001.

Since the place of publication is often absent on videocassettes, remember that per 1.4C6, "[S.l.]" is considered to be the last resort. First preference is probable place (city) in English form followed by a question mark. If a probable place is not available, give the state, province, or country; followed with a question mark if this is not certain. Use [S.l.] only if none of these options is available.

300 See AACR2 1.5B4. You are not expected to verify or determine the playing time.

  1. When the playing time is stated on the item, give the time as stated.
  2. When the playing time is not stated, but is readily ascertainable, give the playing time
  3. Follow the LCRI, i.e., do not apply the option to supply an estimated time.

All VHS (as well as Beta) videocassettes are recorded in 300 $c as 1/2 in. (width of the tape). U-Matic videocassettes are 3/4 in.

300     ‚a 1 videocassette (123 min.) : ‚b sd., col. ; ‚c 1/2 in.


300     ‚a 1 videocassette (105 min.) : ‚b sd., col. with b&w sequences ; ‚c 1/2 in.

A video of a silent film with a music soundtrack will get "sd." in $b. Per AACR7.5C3: "Give sd. (sound) or si. (silent) to indicate the presence or absence of a sound track " (emphasis added). Note also that per 7.5C4, use b&w for sepia prints, and so indicate in a physical description note (7.7B10).

300     ‚a 1 videocassette (81 min.) : ‚b sd., b&w ; ‚c 1/2 in.
500     ‚a Silent film with organ accompaniment and English intertitles.
500     ‚a Sepia print.

If you are cataloging a new ongoing multipart, do not record running time in 300 until the set is complete. Record the running time for each part in field 505 in parentheses after the title (see second 505 example). When the set is complete, record the total running time in 300. If there is no 505, itemize the MFHD and record the running time in $z. When the set is complete, record the total running time in 300, compress the MFHD.

Note that for copy cataloging, if the source copy for a multipart is for a complete set, the 300 should be left as is.


Examples of video publisher series:

245 0 0 ‚a Three ages ‚h [videorecording] ; ‚b The goat ; My wife's relations / ‚c [presented by] Joseph M. Schenck ; directed by Buster Keaton.
440   4 ‚a The art of Buster Keaton

245 0 0 ‚a The English patient ‚h [videorecording] / ‚c Miramax Films presents a Saul Zaentz production ; an Anthony Minghella film.
440   4 ‚a The Criterion collection ; ‚v 336

CAUTION: When cataloging an episode of a television series, distinguish between the video publisher series and the original television program series title. Publisher series is always transcribed in 4xx, while the name of the television series is entered in 245 $a, with the name of the episode entered as a dependent title in $p (preceded by $n in some cases). See 245 section on television programs.

NOTES. Generally enter notes in the following order:

  1. System details (538) [7.7B10]
  2. Scope note (500) [7.7B1]
  3. Language (546) [7.7B2]
  4. Source of title proper (500) [7.7B3]
  5. Variations in title (500). [7.7B4] See also: 246 section
  6. Cast (511) [7.7B6]
  7. Credits (508) [7.7B6]
  8. Edition and history (500, 518, 586) [7.7B7]
  9. Publication, distribution, etc. and date (500) [7.7B9]
  10. Physical descripton other than "system details" (500) [7.7B10]
  11. Accompanying materials not recorded in 300 (500) [7.7B11]
  12. Audience (521) [7.7B14]
  13. Other formats available (530) [7.7B16]
  14. Summary (520) [7.7B17]
  15. Contents (505) [7.7B18]

538 System details. (7.7B10 Physical details; out of AACR2 sequence) [Required]

(YUL:) Follow the common practice and make 538 the first note. The OPAC displays 538 first even if the cataloger has entered it later in the note order; enter the note first to facilitate shared cataloging.

(YUL:) For VHS, "NTSC" is assumed; it is not necessary to record. However, do indicate PAL or SECAM since this is exceptional in the U.S. Audio information may be recorded in system details or as a separate note. Other physical details generally record in 500, e.g. aspect ratio. As a rule of thumb, physical details that require specific playback equipment in order to be enabled are recorded in 538; physical details that do not require specific playback equipment to be enabled are recorded in 500. (But "closed-captioned" is recorded in 546)

Note that the text "System requirements" is not entered in 538 for video. (But "System requirements" is required for direct access electronic resources, e.g. CD-ROMs cataloged under Chapter 9 rules)

538     ‚a VHS.

538     ‚a VHS, PAL.

538     ‚a VHS, SECAM.

538     ‚a VHS hi-fi, Dolby stereo.

538     ‚a VHS, Dolby surround sound, digitally mastered.


500 Scope (7.7B1). If the scope is clear from the 520 summary note or the title, this note is unnecessary. Otherwise, required.

500     ‚a Documentary.

For combined notes that included scope, the note is generally entered in the Scope position of the note sequence:

500     ‚a Silent film with new musical score; English intertitles.

546 Language (7.7B2)

The basic rule is that foreign language notes are required unless the language is clear from the description. In addition, make a note to bring out the language of the subtitles or dubbing if it is not clear from the description.

Note that the current standard note is "Closed-captioned" not "Closed-captioned for the hearing impaired." The change was made in 1995. The symbol is a TV set with a tail or "CC." Entered as a language note. Somewhat less common is the note for "descriptive video" (last example). The symbol is a large D or a speaker with sound waves. These notes should be made if the information is available on the resource cataloged. If the note is made, a corresponding subject ("Videorecordings for the hearing impaired" or "Videorecordings for the visually impaired") must be made. See Subject section below.

546     ‚a Closed-captioned.

546     ‚a Dubbed from Japanese into English.

546     ‚a Spanish dialogue, English subtitles.

546     ‚a In Spanish and English with English subtitles.

546     ‚a Described for the visually handicapped.

If the language note is combined with a scope note, generally use the 500 tag and assign to the Scope position in the note sequence; in the text of the note, enter the scope information first.

500     ‚a Silent film with piano accompaniment and English intertitles.

500 Source of title proper (7.7B3) [Required]

Title taken from the container because the resource could not be viewed. Title was printed on the videocassette.

500     ‚a Title from container; video not viewed by cataloger.

Title taken from the container because the resource could not be viewed. Title was on the videocassette label.

500     ‚a Title from label on container; video not viewed by cataloger.

Title taken from the videocassette box because the resource could not be viewed and no title was available on the videocassette itself.

500     ‚a Title from box; video not viewed by cataloger.

The cataloger should use notes of this type only if playback equipment is not available. Another situation where the Source of title proper note is used is when the resource has been viewed by cataloger but no title was found on the video.

500     ‚a Title from box; title not on video.

500 Variations in title. (7.7B4)

If a title variation requires access, use 246. Whether access is made is cataloger judgment, bearing in mind that computer retrieval is unforgiving of even small variations. See examples in 246 section.

YUL: If a specific title variation doesn't require access, a 500 note does not need to be made.

Currently, the 500 for variations in title is used primarily for "title varies" notes.

500     ‚a Title on containers of parts 3, 5-6 varies slightly.

511. Statements of responsibility for Cast (7.7B6), i.e. performers, players, narrators, presenters. Cast notes are required where appropriate (e.g. feature films, some short films), although how much to include is at the discretion of the cataloger.

First indicator 1 generates the label Cast in Voyager; do not enter "Cast:" in the note when indicator 1 is used. AACR2 says to "list featured players, performers, narrators, and/or presenters" [emphasis added].There is no standard order for recording cast names; listing in the same order given on the credits is probably the easiest.

511 1   ‚a Clark Gable, Vivien Leigh, Leslie Howard, Olivia De Havilland.

Sometimes catalogers follow alphabetical order.

511 1   ‚a Eileen Atkins, Bob Balaban, Alan Bates, Charles Dance, Stephen Fry, Michael Gambon, Richard E. Grant.

Optionally, the role played by the actor is given in parentheses.

511 1   ‚a Aldo Fabrizi (Nicolaio, the Tyrant), Brother Nazario Gerardi (St. Francis), the Monks of Nocera Inferiore Monastery (the Thirteen Brothers).

First indicator 0 generates label Performer in Voyager; use indicator 0 if Cast is inappropriate. Earlier cataloging entered voice-over narrators in 508; current practice is to use 511 for all narrators. When first indicator 0 is used, introductory wording for the type of responsibility must precede the name. AACR2 7.7A1 requires a colon-space following the introductory wording when it is entered in the notes.

511 0   ‚a Narrator: Ian Holm.

511 0   ‚a Hosted by: Bill Moyers.

Performers can also be recorded in the statement of responsibility in 505. See the first example in 505 below.

508 Statements of responsibility for credits (7.7B6). The credits note is required, but how much to include is cataloger judgment; the scope of the credits will generally depend on the genre of film (feature, documentary) being cataloged. For some videos, the names recorded in 245 $c should be sufficient.

508 generates the label Credits in Voyager; do not enter "Credits" in the note. AACR2 7.7B6: "Preface each name or group of names with a statement of function." "Credits" is the introductory wording, so a colon-space is not used following the statement of function. Making added entries for names in 508 is optional.

508     ‚a Director of photography, Alex Barber; editor, Eddie Hamilton; music, Michel Colombier; costume designer, Arianne Phillips; production designer, Russell De Rozario.

508     ‚a Screenplay, Harold Pinter; music, John Dankworth; camera, Gerry Fisher; editor, Reginald Beck.

500 Edition and history. (7.7B7)

Of particular importance is the original release (or production, or broadcast) date of the motion picture or program; it should be recorded if the information is known based on information found on the item being cataloged. Generally, no additional research should be performed. (YUL)

Information in some notes (e.g. "based on") may be incorporated in 520. If a "based on" type note is made, make an author-title added entry for the original work, even if the film adaptation title is the same.

500     ‚a Originally released as a motion picture in 1964.

500     ‚a Originally broadcast in 2002.

500     ‚a Originally broadcast Thursday, May 5, 1995 as a segment of: Nightline.

500     ‚a Based on the novel by Jane Austen.

500     ‚a Based on the 1974 Italian motion picture Travolti da un insolito destino nell'azzurro mare d'agosto by Lina Wertm_uller.

500     ‚a Remake of the 1933 motion picture of the same name.

518 Date and place of capture. YUL: Not explicitly accounted for in AACR2. Consider as an aspect of the history of the work and record if known based on the item in hand. Used primarily for video recordings of live performances. If the information is incorporated in 520, the 518 note is not made.

245 0 0 ‚a James Galway plays mostly Mozart ‚h [videorecording] / ‚c Lincoln Center for the Performing Arts, Inc. ; John Goberman, producer.
518     ‚a Taped during a "Live From Lincoln Center" broadcast from Avery Fisher Hall, Lincoln Center, on July 14, 1982.


245 0 0 ‚a Richard Pryor, live in concert ‚h [videorecording] / ‚c Bill Sargent presents a Hillard Elkins-Steve Blauner production ; See Theatre Network in association with Compact Video Systems, inc. ; produced by Del Jack and J. Mark Travis ; directed by Jeff Margolis.
518     ‚a Recorded live in 1979 at the Terrace Theatre, Long Beach, Calif.

586 Awards. YUL: Not explicitly accounted for in AACR2. Consider as an aspect of the history of the work. Record if readily available (on the resource).

586     ‚a Received Academy Award for best picture in 1957.

500. Publication, distribution, etc. and date. (7.7B9)

AACR2 uses 7.7B9 to indicate:

a) publication details not included in 260 if considered to be important,
b) date of the original production when it differs from the date of publication, and
c) the country of the original release if not stated in the description.

The need to use a) or b) should be rare. The b) situation only applies if the motion picture release date is known to differ from the original production date; such information will rarely be available with the resource unless the difference is being used as a marketing ploy. However, use of c) is stated as a requirement. If the resource actually has an explicit statement such as "First released in Yugoslavia," in that case the statement would probably be used in a quoted note. But in the absence of such an explicit statement, the LCRI for 7.7B9 says to make instead a somewhat equivocal note when the producer/emanator is a foreign firm:

500     ‚a A foreign film (Yugoslavia).

Furthermore, the LCRI states that the note should not be made if the motion picture was co-produced with a U.S. firm.

It is not clear whether this note is regularly or consistently applied in U.S. cataloging in any case.

500 Physical description other than "system details" (7.7B10)

If information is not recorded in 538, it is recorded as a 500 note. Notes about sound and aspect ratio should be recorded if readily available (i.e. stated on the resource). Because video cataloging practice defines edition statements broadly, the implied aspect ratio is often indicated in the edition statement, e.g., 250 Anamorphic widescreen. Unless the actual ratio is given, it would be redundant to repeat this information, e.g., as 500 Anamorphic widescreen.

500     ‚a Mono. sound.

500     ‚a Dolby digital 5.1 sound, stereo.

500     ‚a Aspect ratio 2.35:1.

500     ‚a "THX digitally remastered."

500 Accompanying materials not recorded in 300 (7.7B11)

500     ‚a Special feature: "Hero" music video.

521 Audience (7.7B14). Record MPAA rating only if on the item. No display constant is used with MPAA, so use 8.

521 8   ‚a MPAA rating: PG.

530 Other formats available (7.7B16):

Enter if information is readily available:

530     ‚a Available also on DVD.

520 Summary (7.7B17). Use blank indicator to generate Summary: label in the webpac.

AACR2 7.7B17: "Give a brief objective summary of the content of an item unless another part of the description provides enough information."

Follow the current default practice [5] by including a summary note when creating a new bibliographic record, unless the title makes the content very obvious.

The guidelines on summaries in the OLAC DVD cataloging guide are applicable to videocassettes as well:

Summaries are to be brief, without any judgmental terms. They do not need to be written in complete sentences. One may begin by using information appearing on the package, and then editing it as needed to remove judgmental adjectives, or other superfluous words. If a summary is used exactly as found on the package, it should be enclosed in quotation marks, with the source cited.

520     ‚a In 1996, a group of legendary Cuban musicians were brought together by Ry Cooder to record a CD. This documentary shows some of their songs being recorded in the studio, concert footage from Amsterdam and New York City, and some of the musicians talking about their lives in Cuba and how they got started in music.

520     ‚a Documents how Muslim women reconcile and interpret the requirements of their faith and the obligations of Western culture.

520     ‚a The last documentary by Martin and Osa Johnson, naturalists and explorers; features their last trip to Borneo, their exploration of the land, and their encounters with the native population and wildlife.

505 Contents (7.7B18).

For single part resources, use judgment. Strongly recommended for multipart resources with distinct titles.

Example is for contents on a single videocassette. Note entry of performers in statement of responsibility (rather than 511).

505 0   ‚a Beethoven romance / music by Ludwig Van Beethoven ; performed by Kyra Nichols and Adam Lèuders -- Ecstatic orange--second movement--purple / music by Michael Torke ; performed by Heather Watts and Jock Soto -- Valse triste / music by Jean Sibelius ; performed by Patricia McBride and Ib Andersen -- Barber violin concerto / music by Samuel Barber ; performed by Merrill Ashley, Adam Lèuders, Kate Johnson, and David Parsons -- Sophisticated lady / music by Duke Ellington ; orchestrated by Andre Kostelanetz ; performed by Suzanne Farrell and Peter Martins.

Example is for a multipart. Note running time for the individual videocassettes; note also use of cataloger assigned part numbers in order to treat as a collected set. (For the video: In conversation : W. V. Quine.)

505 0   ‚a [pt. 1.] The Fara interview (90 min.) -- [pt. 2.] The Dennett panel (126 min.) -- [pt. 3.] The Goldfarb panel (100 min.) -- [pt. 4.] The Fogelin panel (98 min.) -- [pt. 5.] The Boolos panel (119 min.) -- [pt. 6.] The Dreben panel (90 min.) -- [pt. 7.] The Block panel (111 min.).

Added entries

7xx. Make added entries for names cited in 245 $c.

Make related work added entries for adaptations of literary or dramatic works. Optionally, make added entries for names recorded in 508.


Per LCRI 21.29D Audiovisual materials, make added entries for:

--interviewers, interviewees, and persons delivering lectures, addresses, etc. or discussing their lives, works, etc.

--cast members given prominence in the chief source; otherwise make added entries for each if there are less than three. [It appears that added entries are made for all cast members given prominence on the chief source even if there are more than 3; in any case, any cast member requiring an added entry must be justified in 511]

For original cataloging, if the name is significant enough to be transcribed in 245 $c, make an added entry, but keep in mind also that many names should not be routinely transcribed in 245 $c. Use judgment and record such names in 508, or not at all. [6]

Create author/title added entries for the original work for filmed adaptations. (See Red badge of courage example below)

Consult the LCRI for situations involving performing groups and where the film maker is the main entry.

Optionally, relator terms may be added (e.g. $e director). Relator term subfields do not affect sorting or display in the webpac, and display only in the Voyager long view in uncoded form. In the staff cataloging module, a Staff Name Heading search will ignore names with relator term subfields; a Name search will sort names with relator terms to the end of the sort list. [7] CAUTION: Use $e <relator term>. The $4 <relator code> does not display in the webpac.

The MARC code list for relators, sources, description conventions is on the Cataloger's Desktop and also on the web at:

If the relator term option is selected and the person performs more than one function, multiple codes may be assigned [arrange in alphabetical order]; do not assign multiple added entries for the different functions.

700 1   ‚a Tarantino, Quentin, ‚e actor ‚e director ‚e scenarist


710. Per LCRI 21.29D Audiovisual materials, make corporate name added entries for:

--the production company, unit, etc.

--all bodies named in 260 (i.e., even though the body has not contributed to the creation of the resource).

245 0 4 ‚a The red badge of courage ‚h [videorecording] / ‚c Metro Goldwyn Mayer ; produced by Gottfried Reinhardt ; directed by John Huston ; screenplay by John Huston ; adaptation by Albert Band.
260     ‚a New York, NY : ‚b MGM/UA Home Video, ‚c c1993.
511 1 ‚a Audie Murphy, Bill Mauldin, Andy Devine.
508     ‚a Director of photography, Harold Rosson Assoc. ; art directors, Cedric Gibbons and Hans Peters ; film editor, Ben Lewis ; music, Bronislau Kaper.
700 1   ‚a Reinhardt, Gottfried.
700 1   ‚a Huston, John, ‚d 1906-
700 1   ‚a Band, Albert, ‚d 1924-
700 1   ‚a Murphy, Audie, ‚d 1924-1971.
700 1   ‚a Mauldin, Bill, ‚d 1921-
700 1   ‚a Devine, Andy, ‚d 1905-1977.
700 1   ‚a Crane, Stephen, ‚d 1871-1900. ‚t Red badge of courage.
710 2   ‚a Metro-Goldwyn-Mayer.
710 2   ‚a MGM/UA Home Video (Firm)

Videos of choreographed works: assign a 630 rather than a 730. Refer to LCRI 25.5B for uniform titles for choreographic works.


See SCM H2230 Visual materials and non-music sound recordings. To summarize:

1. Assign subject headings for all important topics mentioned in the summary statement (520 field).

2. If a specific topic is emphasized in order to illustrate a more general concept, assign subject headings for both the specific and the general topics.

H2230 gives the following example:

520     ‚a Describes the highlights of Colombia, including the production of coffee.
651   0 ‚a Colombia ‚x Description and travel.
650   0 ‚a Coffee ‚z Colombia.

3. When a topic is discussed in conjunction with a particular place, make, insofar as possible, a subject entry under both the topic and the place.

245 0 0 ‚a American dream ‚h [videorecording] / ‚c directed by Barbara Kopple ; produced by Barbara Kopple and Arthur Cohn.
520     ‚a In this Academy Award winner for best documentary in 1991, the true-life story of the 1985-1986 workers' strike against Geo. A. Hormel & Company in Austin, Minnesota is documented from beginning to end. When Geo. A. Hormel & Company made $2 million in profits, then cut its workers' salaries by $2.00 an hour each, the workers had only one option: Go out on strike.
650   0 ‚a Geo. A. Hormel & Company Strike, Austin, Minn., 1985-1986.
610 2 0 ‚a Geo. A. Hormel & Company.
610 2 0 ‚a United Packinghouse, Food, and Allied Workers. ‚b Local 9 (Austin, Minn.)
650   0 ‚a Strikes and lockouts ‚x Packing-house workers ‚z Minnesota ‚z Austin.
650   0 ‚a Packing-house workers ‚x Labor unions ‚z Minnesota ‚z Austin.
650   0 ‚a Industrial relations ‚z Minnesota ‚z Austin.
651   0 ‚a Austin (Minn.) ‚x Economic conditions ‚y 20th century.

4. When a particular person is treated as illustrative of a profession or activity, assign a heading for both the person and the field of endeavor. However, do not treat as a biography (i.e., no --Biography subdivision).

520     ‚a The message of the Los Angeles evangelist who preached to thousands in the 1920s.
600 1 0 ‚a McPherson, Aimee Semple, ‚d 1890-1944.
650   0 ‚a Evangelists ‚z United States.

5. Fiction films. Items a) & b) are assigned as appropriate, c) is always assigned. Assign in the order listed if more than one is assigned.

a) Use subdivision $vDrama after topical subjects to the same extent you would use it for a drama in book form. SCM:SH H1870 sec. 4: "Bring out the topic of an individual play by assigning headings of the type described in sec. 3 [i.e. "[topic]--Drama or [topic]--Juvenile drama. Use headings of this type as the standard means of designating topics in drama, for example, Alcoholism--Drama; Lincoln, Abraham, 1809-1865--Drama; Holmes, Sherlock (Fictitious character)--Drama; Brontë family--Drama." ]

b.) Assign form headings for genre (Comedy films; Western films) or for technique (Silent films, Experimental films). Use 650 not 655. It is not correct practice to subdivide geographically to indicate that the film is about or produced in a given place. Note that the practice of assigning form headings for genre applies only to fiction films; it is is not correct practice to apply genre headings (including Documentary films) to non-fiction films. <Consider local decision to use 655?>

c) Assign 650 _0 Feature films for fiction films 40 min. or longer. Assign 650 _0 Short films for less than 40 min. (Reminder: this instruction only applies to fiction films.)

245 0 4 ‚a The red badge of courage ‚h [videorecording] / ‚c Metro Goldwyn Mayer ; produced by Gottfried Reinhardt ; directed by John Huston ; screenplay by John Huston ; adaptation by Albert Band.
651   0 ‚a United States ‚x History ‚y Civil War, 1861-1865 ‚v Drama.
650   0 ‚a War films.
650   0 ‚a Feature films.

6. Assign as a form heading either Films for the hearing impaired or Video recordings for the hearing impaired to all films produced with captions or sign language for viewing by the hearing impaired.

7. Assign as a form heading either Films for the visually handicapped or Video recordings for the visually handicapped to all films with additional audio description provided for the visually handicapped.

8. Foreign language teaching films. Assign the heading [...] language–Films for [...] speakers as the first heading, and bring out any special topics by assigning additional headings.

520     ‚a Offers a tour of France including Paris, Alsace, Burgundy, the Riviera, Provence, the Pyrenees, and the Breton and Norman coasts. The narration in English deals with the history and culture of France, the shorter narration in French is a simplified version of the English using a controlled vocabulary aimed at the first-year student, and is followed by the French text repeated with French subtitles of the narration.
650   0 ‚a French language ‚x Films for English speakers.
651   0 ‚a France ‚x Description and travel.

9. Assign a 630 rather than a 730 for videos of choreographic works. (This appears to be LC practice for video although it does not seem to be documented.) For choreographic works, see LCRI 25.5B.

630 0 0 ‚a Emperor's new clothes (Choreographic work : Hollander)



[1] "Among the most troublesome differences that may NOT justify a new record are the choices made by different catalogers about video publishers. in the 260 subfield $b section of OCLC's "When To Input A New Record," one murky guideline says: "Absence or presence of multiple publishers, distributors, etc., as long as one on the item matches one on the record and vice versa" does NOT justify a new record. The intention of this guideline is to remind catalogers that it is often difficult to differentiate publishers, distributors, and producers of videos. This is so not simply because of the welter of often ambiguous information that may be associated with any given video, but also because the definitions of "publisher," "distributor," and "producer" can be so jumbled."--Jay Weitz. Videorecording Cataloging: Problems and Pointers.

[2] AACR2 glossary defines a container as: "Housing for an item, a group of items, or part of any item, that is physically separable from the material being housed (e.g., a box for a disk or videocassette, a sleeve for a sound or videodisc)." However, 7.0B1 uses container in 2 senses. As option b) of chief source, a container is "an integral part of the piece (e.g., a cassette)." However, as "information not available from the chief source," a container is understood to be "not an integral part of the piece," by inference, the box or sleeve used to contain the videocassette. And, by inference, in the prescribed sources of information for the edition, publication, and series areas, "chief source" includes container in the first sense, and "container" implies container in the second sense. Olson's 1998 Cataloging of audiovisual materials states "The place of publication or distribution for videocassettes is given only on the container in many cases. If so, it must be bracketed." This was probably based on the 1993 version of AACR2, where "container" was not listed as one of the prescribed sources. "Container" is listed as one of the prescribed sources for edition, publication, and series area in the 1998 version of AACR2. Conclusion: in current cataloging, information taken from the box or sleeve does not need to be bracketed for the edition, publication, or series areas.

[3] Alternate practice (will continue to be encountered since many cataloging units may not follow the RI). If the name of the episode was distinctive, the episode title was recorded in 245 $a; the name of the television program was generally recorded in a note and a 730 was made for the television program.When the name of the episode was not distinctive, the name of the television program was entered in $a and the episode name was entered as a dependent title using $n $p.

[4] Past practice has been to include screenwriters in the statement of responsibility based on LCRIs for 7.1F1 in CSB 11 and 36. These are no longer in the current LCRIs; note that AACR2 does not mention screenwriters and 7.7B6 gives a screenwriter in one of the examples for Credits notes. LCRI 21.29D instruction is to make added entries for "persons who are listed as producers, directors and writers" if the production company is not named, which suggests indirectly that writers are still considered to play "a major role in creating a film" and therefore should be recorded in the statement of responsibility. CPDC:

CSB 11: "Primarily this means giving the names of corporate bodies credited with the production of the work. Personal names should also be transcribed when the person's responsibility is important in relation to the content of the work. For example, names of persons who are producers, directors, and writers are given in most instances; the name of an animator is given if animation is a significant feature of the work; the name of a photographer is given if the work is a travelog." (quoted in Cataloging of audiovisual materials, 4th ed. 1998)

CSB 36: "When deciding whether to give names in a statement of responsibility or in a note, generally give the names in the statement of responsibility when the person or body has some degree of overall responsibility; use the note area for others who are responsible for only one segment or one aspect of the work. Be liberal about making exceptions to the general policy when the person's or body's responsibility is important in relation to the content of the work, i.e., give such important people and bodies in the statement of responsibility even though they may have only partial responsibility. For example, the name of a rock music performer who is the star of a performance on a videorecording may be given in the statement of responsibility even if his/her responsibility is limited to the performance. [Example]. Normally the Library of Congress considers producers, directors, and writers as having some degree of overall responsibility and gives them in the statement of responsibility."--Ibid.>

[5] The current default practice in video cataloging is to provide a summary note, as Jay Weitz has written, "because one cannot leaf through a video in quite the way one can leaf through a book" and also because the note serves as a rich source of free text subject information. In many YUL locations, videos are not browsable but are held on closed reserve, so the bibliographic record may be the only ready means for the user to ascertain the content. Even when SML moves video to the stacks, the summary note will still enhance key word access, help users who access the catalog remotely, support non-SML locations that keep video on closed reserve, and facilitate transfer of videos to LSF. In addition, the shelving containers may not provide access to textual data accompanying the video, and videocassettes may come without sleeves or the sleeves could be lost.

[6] LCRI 21.29D Audiovisual materials also says to make an added entry for persons listed as producers, directors, and writers only if the production company is not named "unless their contributions are significant" (the LCRI then provides some rather restrictive examples). It is fairly common video cataloging practice to interpret significant contributions somewhat more broadly than the LCRI examples suggest.

[7] Relators & searching in Voyager.
Cataloging Module: Staff Name Headings search. 1. If the name exists in Orbis only with the relator term, the relator term will display. 2. However, if the name exists in Orbis both with and without the relator term, the relator term will not display (whether the "without" is an authority record or just a field on a bibliographic record).

Cataloging Module: Names search. 1. If the name exists on a single bibliographic record both with and without the relator term (e.g. 1XX + (6XX or 7XX), the item does not display on the list under name+term. However, if one searches under name+term (sendak maurice ill), it will pull up all of the records with name+term, even if the name is present in both forms on a given record. 2. If the name exists on multiple records, any $e, $t, or $x will cause the name to sort after the name without subfield, irrespective of whether the name is in 6XX or 7XX:

[name], $e actor
[name] $x Autograph
[name]. $t [title beginning with letter "B"]
[name], $e director
[name]. $t [title beginning with letter "M"]

Webpac: note that $e is not indexed in keyword searches.


The Archival and moving images materials manual on the Cataloger's Desktop does not follow AACR2 or utility guidelines and should generally not be followed. (For example, most of the examples of when to create a new record would be added to the same record if the Archival guidelines were followed; physical description guidelines differ significantly from AACR2; note order does not follow AACR2) However, some examples of notes from this resource will be cited. The glossary is excellent.

Jeannette Ho. Cataloging practices and access methods for videos at ARL and public libraries in the United States. Library resources & technical services. Vol. 48, no. 2 (April 2004), p. 107-121.

Nancy B. Olson. Edited by Sheila Intner and Edward Swanson. Cataloging of Audiovisual Materials and Other Special Materials. 4th ed. DeKalb, Ill. : Minnesota Scholarly Press, 1998. pp. [127]-174.

Mary Beth Weber. Cataloging nonprint and internet resources. New York : Neal-Schuman. c2002.

Jay Weitz. "Videorecording cataloging: problems and pointers." Cataloging & Classification Quarterly. v. 31, no. 2, 2001, pp. 53-83.






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