Re: Aiyyyyyyeee: style sheet

Gary Handman (ghandman@library.berkeley.edu)
Thu, 7 Oct 1999 11:46:11 -0700 (PDT)

Thanks, Oksana.

I think your points are all interesting and well-taken. Certainly the
heads of the MLA arbiters would spin and fall off with this level of detail
(given the style sheet's amazing persistently gross treatment of everything
beyond print). I think that it make sense to include as much information
as possible in the cite to identify the version watched. I think I'll add
the Moroder (yuk!) Metropolis as an example...

Seems to me that the more scholarly the researcher and the more central to
the core of work at hand the film, the more information needs to be added
(e.g. time)

I do think that format specificity is important.

Thanks for the input...useful as usual!

Gary

PS: Bout de Souffle!!!! Zut, alors! J'ai oublié! le "A"!

At 09:58 AM 10/07/1999 -0700, Oksana Dykyj wrote:
>At 08:55 AM 10/7/99 -0700, you wrote:
>>I sent you all the wrong URL for the film and video style sheet:
>>
>>The correct is http://www.lib.berkeley.edu/MRC/mla.html
>>
>>sorry!
>>Gary Handman
>
>Hi Gary,
>
>A couple of nit-picky comments from a researcher's point of view:
>
>Citizen Kane. Dir. Orson Welles. Perfs. Orson Welles, Joseph Cotton. Film.
>RKO Radio Pictures, 1941.
>
>When we cite printed materials we refer to editions. In the film world
>there are re-releases, sometimes the copyright date changes, sometimes it
>doesn't depending on whether the re-release occurs during the copyrighted
>period by the copyright holder. With Kane there were brand new prints
>struck for the 50th anniversary. It was a kind of re-release of the film.
>Should that be indicated? Sometimes re-releases were used to add the film
>as the 2nd film on a double bill and edited down, so the film cited may not
>actually have the same running time as the original release of the film.
>
>Similarly, some films survive in different versions: take Metropolis for
>example: Is the citation to the Munchen Archive version (most complete), or
> the Georgio Mororoder version (contemporary rock music on soundtrack) or
>some other shortened version, with or without added soundtracks. If you
>simply cite UFA as the studio, the citation could possibly refer to a print
>during the original release of the film.
>
>Then we get to the issue of citing the length of the film to perhaps
>confirm the version viewed. If used, sound film can be indicated in minutes
>but silent film needs to be indicated in feet or meters, or alternatively
>in minutes but with the running speed shown, i.e. 92 minutes at 22 frames
>per second.
>
>Finally, in citing the performers, would the rule be to take the top two
>billed people as they appear in the opening credits (or closing credits if
>there are no opening credits)? Should the same rule apply to films on video?
>
>That said, it really puts the onus on the viewer who may not know the
>speed of the silent film or its length in feet, without doing alot of
>research. But, if it is the Munchen print or the Moroder print the
>information is there in the credits.
>
>
> Bout de Souffle (Breathless). Dir Jean-Luc Godard.
>Perfs. Jean-Paul Belmondo, Jean Seberg, Liliane David. Videocassette. Prod
>Georges de Beauregard-S.N.C., 1960; Dist. Connoisseur Video Collection,
1989.
>
>Sorry to mention it but the actual title is À bout de souffle. You`re
>missing the à.
>
>With video formats do we specify which one (betamax, VHS, DVD)?
>
>Here's an interesting issue about the whole mess of information on the DVD
>itself. If a researcher is making a specific reference to a particular
>section of the DVD, using the scene index on the packaging of the DVD or
>the menu of the DVD itself, we have a situation of printed media (or
>format-related additional information) that is associated with the moving
>image material only in a particular edition of a particular format of the
>film. I've got the Matrix DVD in front of me. The scene index lists 38
>separate scenes and each has a title, like Rooftop Rescue and Gotcha. A
>researcher could want to make a reference to the Gotcha scene in The
>Matrix, but the Gotcha scene is not a designation (chapter title) on the
>film itself, but only on this particular edition of the DVD format.
>
>I'll stop here before I drive myself and everyone else nuts.
>
>Oksana
>__________________________________________________________________________
>Oksana Dykyj voice: 514-848-3443
>Head, Visual Media Resources fax: 514-848-3441
>Instructional & Information Technology Services
>Concordia University
>H-342, 1455 de Maisonneuve Blvd. W,
>Montreal, Quebec
>Canada H3G 1M8
>__________________________________________________________________________
>
>
Gary Handman
Director
Media Resources Center
Moffitt Library
UC Berkeley 94720-6000
http://www.lib.berkeley.edu/MRC

"Everything wants to become television" (James Ulmer -- Teletheory)