Clarifying the seemingly obvious: Cast and credits - Revision history

Dbalzer: correction

2011-05-18T09:18:33Z

correction

Dbalzer at 08:30, 6 April 2011

2011-04-06T08:30:56Z

Dbalzer at 08:20, 6 April 2011

2011-04-06T08:20:01Z

Dbalzer at 08:18, 6 April 2011

2011-04-06T08:18:09Z

Dbalzer at 08:16, 6 April 2011

2011-04-06T08:16:54Z

Dbalzer at 08:12, 6 April 2011

2011-04-06T08:12:21Z

Dbalzer at 21:29, 5 April 2011

2011-04-05T21:29:33Z

Dbalzer at 21:16, 5 April 2011

2011-04-05T21:16:00Z

Dbalzer: Created page with "Cast and credits appear to be simply relationships '''between films and people''', and perhaps fictitious characters. Is it really that simple? {| style="float: right; border: ..."

2011-04-05T21:15:20Z

Created page with "Cast and credits appear to be simply relationships '''between films and people''', and perhaps fictitious characters. Is it really that simple? {| style="float: right; border: ..."

New page

Cast and credits appear to be simply relationships '''between films and people''', and perhaps fictitious characters. Is it really that simple?

{| style="float: right; border: 1px solid #BBB; margin: .46em 0 0 .2em;"
|-
| valign="top" width="405px" |[[File:Actor-ashton.jpg|400px]]<br />
<span style="font-size:8pt">
From: The Tales of Hoffmann, UK, 1951.
</span>

| valign="top" width="405px" |
This is Frederick (later: Sir Frederick) Ashton '''acting''' as a '''character''' named ''Cochenille'', taken from a German manifestation of the British production of ''Hoffmanns Erzählungen'', made in 1951.

The first thing to note is that his contribution is, like that of most actors, at the '''work level'''.
|}

@@ Line 23: / Line 23: @@
 | valign="top" width="405px" |
-An XML representation using the EN 15907 AgentRelationship.
+An XML representation using the EN 15907 HasAgent relationship.
 For uniquely identifying the '''person''', we have included an '''identifier''' from the British film Institute. At this place, we could add any number of further identifiers.

@@ Line 60: / Line 60: @@
 Another detail from a trailer for ''I Vitelloni''.
-Consulting other sources, this turns out to be the Italian film critic's prize, '''awarded''' in 1954 '''to''' Alberto Sordi as "best actor". This prize is sponsored by the Sindacato Nazionale Giornalisti Cinematografici Italiani[http://www.cinegiornalisti.com/].
+Consulting other sources, this turns out to be the Italian film critic's prize, '''awarded''' in 1954 '''to''' Alberto Sordi as "best actor". The ''nastro d'argento'' (silver ribbon) is sponsored by the Sindacato Nazionale Giornalisti Cinematografici Italiani[http://www.cinegiornalisti.com/].
 |}

@@ Line 60: / Line 60: @@
 Another detail from a trailer for ''I Vitelloni''.
-Consulting other sources, this turns out to be the Italian film critic's prize, '''awarded''' in 1954 '''to''' Alberto Sordi as "best actor". This pize is sponsored by the Sindacato Nazionale Giornalisti Cinematografici Italiani[http://www.cinegiornalisti.com/].
+Consulting other sources, this turns out to be the Italian film critic's prize, '''awarded''' in 1954 '''to''' Alberto Sordi as "best actor". This prize is sponsored by the Sindacato Nazionale Giornalisti Cinematografici Italiani[http://www.cinegiornalisti.com/].
 |}

@@ Line 71: / Line 71: @@
 | valign="top" width="405px" |
-Strictly speaking, this event would relate to the '''relationship''' between Alberto Sordi and the work, I Vitelloni. Since EN 15907 does not specify so-called ''reification'' of relationships, we create an '''award instance''' for the film work and '''include Agent references''' for the winner and the sponsor of the award.
+Strictly speaking, this event would relate to the '''relationship''' between Alberto Sordi and the work, ''I Vitelloni''. Since EN 15907 does not specify so-called ''reification'' of relationships, we create an '''award instance''' for the film work and '''include Agent references''' for the winner and the sponsor of the award.
 |}

@@ Line 72: / Line 72: @@
 | valign="top" width="405px" |
 Strictly speaking, this event would relate to the '''relationship''' between Alberto Sordi and the work, I Vitelloni. Since EN 15907 does not specify so-called ''reification'' of relationships, we create an '''award instance''' for the film work and '''include Agent references''' for the winner and the sponsor of the award.
 |}

← Older revision		Revision as of 21:29, 5 April 2011
Line 14:		Line 14:

	The first thing to note is that his contribution is, like that of most actors, at the '''work level'''.		The first thing to note is that his contribution is, like that of most actors, at the '''work level'''.
		+	\|}
		+
		+	{\| style="float: right; border: 1px solid #BBB; margin: .46em 0 0 .2em;"
		+	\|-
		+	\| valign="top" width="405px" \|[[File:Ashton-xml2.png\|400px]]<br />
		+	<span style="font-size:8pt">
		+	</span>
		+
		+	\| valign="top" width="405px" \|
		+	Here is an XML representation of the relationship.
		+
		+	For uniquely identifying the '''person''', we have included an '''identifier''' from the British film Institute. At this place, we could add any number of further identifiers.
	\|}		\|}

← Older revision		Revision as of 21:16, 5 April 2011
Line 1:		Line 1:
		+	''From the [[TC 372 Workshop Compendium]]''
		+
	Cast and credits appear to be simply relationships '''between films and people''', and perhaps fictitious characters. Is it really that simple?		Cast and credits appear to be simply relationships '''between films and people''', and perhaps fictitious characters. Is it really that simple?