7.5B1 says to "add a trade name if the use of the item is conditional upon this information and if it is only available in that particular form." Most of us won't know if the title is available in any other form, and the information if very important to our users, since the videodiscs by different manufacturers are not interchangeable. The information would be given in a note (7.7B16), if not in the physical description area.

-- Nancy B. Olson

Previously it was necessary to have a separate $a with accompanying subfield codes for each separate occurrence of a type "g" material in a title. This applied when the title consisted of a type "g" material (filmstrips, videorecordings, motion pictures, etc.) or when a kit contained type "g" material. For instance, if you have a set of filmstrips with 3 filmstrips, your 007 would have had three series of $a 's, even if the characteristics of each filmstrip were identical.

With the new enhancements the 007 field is itself repeatable and the $a is no longer repeatable. For sets of type "g" materials each item sharing the same physical characteristics can now be represented by a single 007. If, any physical variation occurs, more 007 fields will be needed to describe each item which varies from the others.

For kits (type "o") you still only use an 007 when the kit contains type "g" material. A new 007 field needs to be constructed for each type "g" item in a kit, even if the physical characteristics are the same for several pieces. If you have a kit containing two filmstrips (1 b&w and 1 color), a set of slides and a set of transparencies you would need four 007 fields. When coding slide sets or sets of transparencies, do not create an 007 for each unit of a set. Examine them and create an 007 which describes the characteristics of the majority of the items in the set of slides or the set of transparencies.

One item worth noting from the examples on page 5 of T.B. 107 is the use of the "n" code. In the "New" videorecording example, $e "n" is an appropriate, needed code. It tells us that the item is not a motion picture. However, the "new" example for the sound recording contains some unnecessary codes that can be routinely eliminated. In the example, we know from the $b that we are working with a disc. Therefore, there is no need to show the subfields which apply only to tape, that is, $h, $i and $m. Likewise, unless your collection is archival, there is no need to ever include subfields $j, $k, and $1 in your 007. The inclusion of these subfields in the examples on page 5 of T.B. 107 occurs only because these are machine converted 007s. If this were a new 007 on a newly input non-archival record only subfields $a through $g would be needed.

Dropping out the unnecessary subfields for a standard cassette our 007 would look like this s $b s $c r $d 1 $e s $g j $h 1 $i c. Note that $m is currently optional according to the input standards. If you use it, code $m according to what the item says. If it does not have one of the listed phrases either do not add a $m or code it "u".

Note that (1) under "comment on examples" on page 5 of T.B. 107 applies only to the converted records. The subfield code $a is not system supplied on records entered after the conversion process was completed. We must supply our own $a code.

It is best to enter an 007 only for what you have in hand, even though page 6 of T.B. 107 second paragraph says "use a separate field 007 for each version or variation." Since LC catalogs from publishers' data sheets, they will occasionally have complete enough information to do two 007s for format variations. When they do it will usually be in conjunction with a note like "Issued also in 1/2 in." For those of us cataloging from one item it is best to describe what you have in hand in your 007 and add a version note when you have such information available. If your institution owns two variations of an item it is necessary to create an online record for each since the 300 field is not repeatable. But in that case there could be 2 007 fields on each record, one to describe the item being cataloged and one for the other variation you own.

This little gem is mystifying people right and left! No one seems to know how to apply "f". "0" would be used only for items that were first generation. Examples would be: a master tape of a live event, off-air taping of a live television event, an original set of slides. "R" is the code most of us will use most of the time. Anything commercially available is going to be coded "r". "U" is to be used when the item was not purchased commercially and you don't know what its history is. LC AV records will always carry code "u" in lieu of coming at this time to firm guidelines on how to apply the codes for subfield c.

In subfield $e "a" is used for 8mm and 16mm films and for any other motion picture which does not use any of the listed "wide-screen" techniques. Subfields $f and $g both have a new code "[blank]". If AV material does not have sound accompanying it, subfields $f and $g can just be dropped and not included in the record.

As mentioned earlier subfields $j, $k, and $l can routinely be dropped from non-archival cataloging. Subfield $m is optional but if it is used it applies to tapes only. If a tape has been processed according to any of the methods or standards "a" through "e" it will be stated on the item or its container. If any processing other than those listed appears to have been used, code "z". (If anyone knows what "CCIR standard" or "DBX standard" mean or what the initials stand for please let me know).

Subfields $h, $i and $j are all archival so can be dropped from nonarchival cataloging.

Technical Bulletin 108 provided information of the mutation of the former fixed field unit "Text" into "Accomp mat" in the sound recording format. There were no surprises here. One observation that might be of interest deals with the general nature of the Accomp mat section in the two formats. In the AV format Accomp mat actually refers to a physical entity. There is a physical object for each coded unit. In the sound recording format though some of the codes could represent separate physical items (score, teacher's guide, libretto, for example) many of the codes represent intellectual content of the program notes on the slipcase. The two areas function quite differently in tech format.

What gets coded in the Accomp mat area should appear somewhere else in the variable fields area of the record. It may be in the 300 $e or in a note. If it isn't important enough to be in the body of the record, it is not important enough to get a code in the Accomp mat area. For sound recordings evidence to justify a code like e, f, g, h, i, and k may be a note "Program notes on container." Since much of the content of program notes varies, the Accomp mat codes can provide a clearer online picture of the content than is provided by the neutral note.

It is good to see the expansion of the Accomp mat codes. Let's hope this signals a beginning expansion of the sound recording format to include more codes useful to catalogers who work with materials in recorded form which aren't symphonies! People who work with children's records, physical fitness records, etc. find that the current sound recording format does a good job of ignoring these materials. If any of you out there have observed the inadequacies of the format in this regard let me hear your observations.

For the material currently cataloged by the Library of Congress, apply only the following general material designations (GMD's ): filmstrip, kit, microform, motion picture, slide, sound recording, transparency, videorecording. Do not apply any of the options that permit specific material designations to be shortened when they are repetitious of GMDs (e.g., 6.5B1)
-- (CSB 11)

The rule allows performers who do more than perform to be named in the statement of responsibility. Accept only the most obvious cases as qualifying for the statement of responsibility.
-- (CSB 11)

Describe the item as a unit.
-- (CSB 11)

Apply the option stated in 1.4C7 for adding the full address of a publisher, distributor, etc,.
-- (CSB 13)

All copyright dates must be preceded by the "c" symbol. This means that if the cataloger wishes to use a copyright date in the publication, distribution, etc., area (in accordance with 1.4F6), record "p1980" as "c1980."
-- (CSB 13)

When the total playing time of a sound recording is not stated on the item but the durations of its parts (sides, individual works, etc.) are, if desired add the stated durations together and record the total, rounding off to the next minute if the total exceeds 5 minutes.
Precede a statement of duration by "ca." only if the statement is given on the item in terms of an approximation. Do not add "ca." to a duration arrived at by adding partial durations or by rounding off seconds.
If no durations are stated on the item or if the durations of some but not all the parts of a work are stated, do not give a statement of duration. Do not approximate durations from the number of sides of a disc, type of cassette, etc.
-- (CSB 13)

In giving the names of players in nonmusic sound recordings, caption the note "Cast". Add the roles or parts of players if deemed appropriate, in parentheses after the name (cf. 7.7B6).
-- (CSB 13)

If the individual works in a collection are identified in the title and statement of responsibility area, list the durations of the works in a note. If the individual works are listed in a contents note (6.TB18), give their durations there.
When recording individual durations in the note area, give them as they appear on the item (e.g., in minutes and seconds if so stated). If only the durations of the parts of a work are stated (e.g., the movements of a sonata), if desired, add the stated durations together and record the total for the work in minutes, rounding off to the next minute.
Precede a statement of duration by "ca." only if the statement is given on the item in terms of an approximation. Do not add "ca." to a duration arrived at by adding partial durations or by rounding off seconds.
If the duration of a work is not stated on the item or if the durations of some but not all the parts are stated, do not give a statement of duration for that work. Do not approximate durations from the number of sides of a disc, type of cassette, etc.
-- (CSB 13)

Generally make a note on the availability of the item in another medium or other media, if this is known. Record these notes in the position of 6.7B16, 7.7B16, and use the term "issued."
Issued also as motion picture, filmstrip, and slide set.

-- (CSB 13)

When applying rule 6.7B19 to include the label name and number in a note, make this note the first one.
-- (CSB 13)

Apply the optional provisions for standard numbers and terms of availability when cataloging materials issued during the current three years.
-- (CSB 13)

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 italicized 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 or following 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.

-- (CSB 13)

When deciding whether to give names in the statement of responsibility (7.1F1, 8.1F1) 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.
Normally the Library of Congress considers producers, directors, and writers (or, in the case of slides and transparencies, authors, editors, and compilers) as having some degree of overall responsibility and gives them in the statement of responsibility.
-- (CSB 13)

Do not apply the option stated in 1.4C7 for adding the full address of a publisher, distributor, etc., when cataloging materials covered by chapters 7 and 8.
-- (CSB 13)

When considering 7.7B4 and 8.7B4 for a variation in title, decide first whether an added title entry is needed under the variant title. Decide this primary issue by consulting 21.2. If the variation in title is as great as the differences in titles described in 21.2, make the added entry and justify the added entry by means of a note formulated under 7.7B4 or 8.7B4. Otherwise, do not apply 7.7B4 or 8.7B4.
-- (CSB 13)

For audiovisual items, generally list persons (other than producers, directors, and writers) who have contributed to the artistic and technical production of a work in a credits note (see 7.1F1/8.1F1).
Give the following persons in the order in which they are listed below. Preface each name or group of names with the appropriate term(s) of function. Photographer(s); camera; cameraman/men; cinematographer // animator(s) artist(s); illustrator(s); graphics // film editor(s); photo editor(s); editor(s) // narrator(s); voice(s) // music // consultant(s); adviser(s).
Do not include the following persons: assistants or associates // production supervisors or coordinators // project or executive editors // technical advisers or consultants // audio or sound engineers // writers of discussion, program, or teacher's guides // other persons making only a minor or purely technical contribution.
-- (CSB 13)

When a foreign firm, etc., is given in the source as emanator or originator, do not assume that the item was either made or released in that country if not so stated. Instead use the note: A foreign film (Yugoslavia) // A foreign filmstrip (Yugoslavia) // A foreign slide set (Yugoslavia). For a U.S. emanator and a foreign producer or a foreign emanator and a U.S. producer, do not make the note. // ... /Learning Corporation of America ; [produced by] Earl Rosen and Associates. (Earl Rosen and Associates is a Canadian firm).
-- (CSB 13)

Rule 8.5Bl gives a list of specific material designations to be used in the physical description for materials covered in this chapter, but allows, optionally, other terms to be used. The various specific material designations would be apportioned among the GMDs as follows:

     Chart                  Picture                   Slide
       Chart        	      Art print                	Slide
       Flip chart      	      Art reproduction 	        Stereograph
       Wall chart    	      Photograph              Technical drawing
     Filmstrip        	      Picture                   Technical drawing
       Filmslip     	      Postcard                Transparency
       Filmstrip       	      Poster                    Transparency
     Flash card     	      Radiograph
       Flash card    	      Study print

-- (CSB 11)

When counting unnumbered frames, generally do not consider any number too numerous to count. Begin counting with the first content frame and end with the last content frame, thereby counting any noncontent frame interspersed, but excluding noncontent frames which precede the first content frame or follow the last content frame. Give the number resulting from this count as the total, within brackets. (Small groups of unnumbered optional content frames may be ignored.)
As with separately numbered title frames, give separate totals of test frames. // 60 fr., 4 test fr.
-- (CSB 13)

In listing individually named parts of a graphic item, add the duration of the accompanying sound (cassette, disc, etc.) after the number of frames, slides, etc., if given. // What's your point?(55 fr., 13 min., 2 sec.)
In the absence of the number of frames, slides, etc., add to the titles statements of responsibility the duration of the accompanying sound, if given. // Residential architecture, tools (15 min., 10 sec.)
-- (CSB 13)

In making added entries for audiovisual materials, follow the general rules in 21.29, and apply, in addition to those in 21.30, the following guidelines:
1. Make added entries for all openly named persons or corporate bodies who have contributed to the creation of the item, with the following exceptions:
   1. Do not make added entries for persons (producers, directors, writers, etc.) it there is a production company, unit, etc., for which an added entry is made, unless their contributions are determined significant, e.g., the animator of an animated film; the producer/director of a student film; the director of a theatrical film; the filmmaker or developer of a graphic item attributed as author on the data sheet and/or prominently named on the accompanying Material ("a film by"). In the absence of a production company, unit, etc., make added entries for those persons who are listed as producers, directors, and writers. Make additional added entries for other persons only if their contributions are determined significant.

   2. If a person, filmmaker, developer of a graphic item, etc., is the main entry heading, do not make added entries for other persons who have contributed to the production, unless the production is known to be the joint responsibility or collaboration of the persons or the contributions are determined significant.

2. Make added entry headings for all corporate bodies named in the publication, distribution, etc., area.

3. Make added entries for all featured players, performers, and narrators with the following exceptions:
   1. If, for a motion picture or videorecording, the main entry is under the heading for a performing group (in accordance with 21.1B2e), do not make added entries under the headings for persons performing as members of that group. If a person's name, however, appears in conjunction with and preceding and following the name of the group, do not consider him or her to be a member of the group.

   2. If there are many players (actors, actresses, etc.), make added entries under the headings for those that are given prominence in the chief source of information. If that cannot be used as a criterion, make added entries under the headings for each if there are no more than three.

4. Similarly, make added entries under the headings for persons in a production who are interviewers or interviewees, delivering lectures, addresses, etc., or discussing their lives, ideas, work, etc., and who are not chosen as the main entry heading.

-- (CSB 13)