Difference between revisions of "Events in the lifecycle of an audiovisual creation"
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+ | ''From the [[TC 372 Workshop Compendium]]'' | ||
+ | |||
+ | ==Determining the event type== | ||
+ | |||
Like most other intellectual or artistic creations, audiovisual works can undergo '''many stages''' of realisation, usage, modification and re-use. Introducing the concept of '''event''' allows us to capture details about these stages as machine-processable metadata. | Like most other intellectual or artistic creations, audiovisual works can undergo '''many stages''' of realisation, usage, modification and re-use. Introducing the concept of '''event''' allows us to capture details about these stages as machine-processable metadata. | ||
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Decisions are usually specific to a particular '''manifestation''' of a cinematographic work. They can also give rise to a new variant in cases where the decisison results in significant changes in the content of the public release. | Decisions are usually specific to a particular '''manifestation''' of a cinematographic work. They can also give rise to a new variant in cases where the decisison results in significant changes in the content of the public release. | ||
+ | |} | ||
+ | |||
+ | {| style="float: right; border: 1px solid #BBB; margin: .46em 0 0 .2em;" | ||
+ | |- | ||
+ | | valign="top" width="405px" |[[File:Ipr-registration-1.png|400px]]<br /> | ||
+ | <span style="font-size:8pt"> | ||
+ | </span> | ||
+ | |||
+ | | valign="top" width="405px" | | ||
+ | Some countries have (or had) registration schemes for '''intellectual property rights''', applicable to moving image works. | ||
+ | |||
+ | EN 15907 defines this event type for cases in which such registration is known. | ||
+ | |} | ||
+ | |||
+ | {| style="float: right; border: 1px solid #BBB; margin: .46em 0 0 .2em;" | ||
+ | |- | ||
+ | | valign="top" width="405px" |[[File:Preservation-event.jpg|400px]]<br /> | ||
+ | <span style="font-size:8pt"> | ||
+ | </span> | ||
+ | |||
+ | | valign="top" width="405px" | | ||
+ | This class of events comprises activities that are ususally based on a single copy. Preservation events can produce a new '''copy''', or a new '''manifestation''' if the resulting copy is used as a master for duplication. | ||
+ | |||
+ | In cases where different fragments are combined in order to '''reconstruct''' a cinematographic work, this should be regarded as a '''production event''' resulting in a new '''variant'''. | ||
+ | |} | ||
+ | |||
+ | {| height="20px" width="100%" | ||
+ | |- style="text-align:center; " | ||
+ | |<span style="color:#808080"> • • • </span> | ||
+ | |- | ||
+ | |} | ||
+ | |||
+ | ==Describing and using event information== | ||
+ | |||
+ | Describing an event largely follows the famous '''five Ws''' (Who, What, Why, When, Where) of journalism (and, indeed, many other kinds of writing). Separating these facets into appropriate metadata elements '''enables''' machines to provide us with more useful and interesting ways of '''accessing and evaluating''' filmographic data. | ||
+ | |||
+ | |||
+ | {| style="float: right; border: 1px solid #BBB; margin: .46em 0 0 .2em;" | ||
+ | |- | ||
+ | | valign="top" width="405px" |[[File:Pubevent-properties.png|400px]]<br /> | ||
+ | <span style="font-size:8pt"> | ||
+ | </span> | ||
+ | |||
+ | | valign="top" width="405px" | | ||
+ | Events are interesting if we know some of their properties that can be expressed as '''attributes''' or '''relationships'''. | ||
+ | |||
+ | An attribute is similar to a traditional data field, in that it can hold values expressed as text, numbers, calendar dates, etc. | ||
+ | |||
+ | A relationship connects an instance (in this case: the event) with instances of other entities such as a manifestation or an agent. | ||
+ | |} | ||
+ | |||
+ | {| style="float: right; border: 1px solid #BBB; margin: .46em 0 0 .2em;" | ||
+ | |- | ||
+ | | valign="top" width="405px" |[[File:Pubevent-query.png|400px]]<br /> | ||
+ | <span style="font-size:8pt"> | ||
+ | Query performed on the central filmography database of Deutsches Filminstitut (DIF), 04-Oct-2010 | ||
+ | </span> | ||
+ | |||
+ | | valign="top" width="405px" | | ||
+ | This is the result of a '''real database query''' based on publication events. | ||
+ | |||
+ | Evidently, this will only retrieve film works for which some publication event is known with '''date''' and '''place'''. | ||
+ | |} | ||
+ | |||
+ | {| style="float: right; border: 1px solid #BBB; margin: .46em 0 0 .2em;" | ||
+ | |- | ||
+ | | valign="top" width="405px" |[[File:Award-query.png|400px]]<br /> | ||
+ | <span style="font-size:8pt"> | ||
+ | Query performed on the central filmography database of Deutsches Filminstitut (DIF), 04-Oct-2010 | ||
+ | </span> | ||
+ | | valign="top" width="405px" | | ||
+ | Another database query based on events, in this case, on '''awards''' given at the Locarno International Film Festival. | ||
+ | |||
+ | Using such database queries, '''any''' suitable '''data element''' can be turned into what librarians call an '''access point'''. | ||
+ | |} | ||
+ | |||
+ | {| style="float: right; border: 1px solid #BBB; margin: .46em 0 0 .2em;" | ||
+ | |- | ||
+ | | valign="top" width="405px" |[[File:No stinking Access Points.png|400px]]<br /> | ||
+ | <span style="font-size:8pt"> | ||
+ | From: http://managemetadata.org/blog/2009/11/03/we-dont-need-no-stinking-access-points/ Accessed: 21-Sep-2010. | ||
+ | </span> | ||
+ | | valign="top" width="405px" | | ||
+ | The notion of '''access point''' has indeed become a subject of debate in the cataloguing community. | ||
+ | |||
+ | Suitably designed databases can offer '''any number''' of access points for locating resources. Exploring a collection via relationships opens up '''paths of discovery''' that cannot be foreseen during the cataloguing process. Relationships with events are particularly useful here since events can act as nodes to which dissimilar resources can be connected via relationships. | ||
+ | |} | ||
+ | |||
+ | {| height="20px" width="100%" | ||
+ | |- style="text-align:center; " | ||
+ | |<span style="color:#808080"> • Previous: [[The case for reference models]] • Up: [[TC 372 Workshop Compendium|Contents]] • Next: [[Relationships: An essential component of art and culture]] • </span> | ||
+ | |- | ||
|} | |} |
Latest revision as of 20:19, 4 April 2011
From the TC 372 Workshop Compendium
Determining the event type
Like most other intellectual or artistic creations, audiovisual works can undergo many stages of realisation, usage, modification and re-use. Introducing the concept of event allows us to capture details about these stages as machine-processable metadata.
|
Some countries have (or had) registration schemes for intellectual property rights, applicable to moving image works. EN 15907 defines this event type for cases in which such registration is known. |
• • • |
Describing and using event information
Describing an event largely follows the famous five Ws (Who, What, Why, When, Where) of journalism (and, indeed, many other kinds of writing). Separating these facets into appropriate metadata elements enables machines to provide us with more useful and interesting ways of accessing and evaluating filmographic data.
From: http://managemetadata.org/blog/2009/11/03/we-dont-need-no-stinking-access-points/ Accessed: 21-Sep-2010. |
The notion of access point has indeed become a subject of debate in the cataloguing community. Suitably designed databases can offer any number of access points for locating resources. Exploring a collection via relationships opens up paths of discovery that cannot be foreseen during the cataloguing process. Relationships with events are particularly useful here since events can act as nodes to which dissimilar resources can be connected via relationships. |
• Previous: The case for reference models • Up: Contents • Next: Relationships: An essential component of art and culture • |