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Modular construction and anamorphosis in Channel 4 idents: past and present

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Modular construction and anamorphosis in Channel 4 idents : past and present. / Brownie, Barbara.

In: Journal of Media Practice, Vol. 14, No. 2, 2013, p. 93-110.

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@article{ce7e6d63a4a64eb4880b4b26a9648bbe,
title = "Modular construction and anamorphosis in Channel 4 idents: past and present",
abstract = "In the 30 years since the first appearance of Martin Lambie Nairn{\textquoteright}s ident, Round and Back, Channel 4 has established a reputation for screening idents that are both innovative and pleasingly familiar. While many texts have acknowledged the significance of these artefacts, there has, as yet, been no sufficient exploration into the precise behaviours that make these idents so distinct. This article explores the construction of the Channel 4 logo from independently moving parts, and the alignment of static parts prompted by tracked navigation, showing how these behaviours are made possible by the modularity of the Channel 4 logo. These behaviours are likened to anamorphosis, in which a privileged viewing zone reveals to viewers an alignment of forms, and a fleeting moment in which separate pictorial objects collaborate in the presentation of a more significant numerical configuration. ",
keywords = "Channel 4, idents, logo, Gestalt, anamorphosis, typography",
author = "Barbara Brownie",
year = "2013",
doi = "10.1386/jmpr.14.2.93_1",
language = "English",
volume = "14",
pages = "93--110",
journal = "Journal of Media Practice",
issn = "1468-2753",
publisher = "Intellect Publishers",
number = "2",

}

RIS

TY - JOUR

T1 - Modular construction and anamorphosis in Channel 4 idents

T2 - past and present

AU - Brownie, Barbara

PY - 2013

Y1 - 2013

N2 - In the 30 years since the first appearance of Martin Lambie Nairn’s ident, Round and Back, Channel 4 has established a reputation for screening idents that are both innovative and pleasingly familiar. While many texts have acknowledged the significance of these artefacts, there has, as yet, been no sufficient exploration into the precise behaviours that make these idents so distinct. This article explores the construction of the Channel 4 logo from independently moving parts, and the alignment of static parts prompted by tracked navigation, showing how these behaviours are made possible by the modularity of the Channel 4 logo. These behaviours are likened to anamorphosis, in which a privileged viewing zone reveals to viewers an alignment of forms, and a fleeting moment in which separate pictorial objects collaborate in the presentation of a more significant numerical configuration.

AB - In the 30 years since the first appearance of Martin Lambie Nairn’s ident, Round and Back, Channel 4 has established a reputation for screening idents that are both innovative and pleasingly familiar. While many texts have acknowledged the significance of these artefacts, there has, as yet, been no sufficient exploration into the precise behaviours that make these idents so distinct. This article explores the construction of the Channel 4 logo from independently moving parts, and the alignment of static parts prompted by tracked navigation, showing how these behaviours are made possible by the modularity of the Channel 4 logo. These behaviours are likened to anamorphosis, in which a privileged viewing zone reveals to viewers an alignment of forms, and a fleeting moment in which separate pictorial objects collaborate in the presentation of a more significant numerical configuration.

KW - Channel 4

KW - idents

KW - logo

KW - Gestalt

KW - anamorphosis

KW - typography

U2 - 10.1386/jmpr.14.2.93_1

DO - 10.1386/jmpr.14.2.93_1

M3 - Article

VL - 14

SP - 93

EP - 110

JO - Journal of Media Practice

JF - Journal of Media Practice

SN - 1468-2753

IS - 2

ER -