The actor's union, Equity, have decided to black Channel 4 adverts after a dispute with advertising agencies over pay rates in the commercials. Only commercials with no actors in them can be broadcast – so there are lots of cheerful businessmen plugging Vauxhall dealerships or timeshares in
. Public information films
about how to proceed at level crossings and how to look after your purse are,
wrote Julian Barnes in the Observer, ‘repeated with boot-through-screen frequency’. Spain
There is a strange filler inbetween the programmes: flying, coloured blocks arranging themselves into the shape of a 4, to a Brian Eno-like, four-note tune that can be played in any style, depending on what programme it is introducing. Channel identifications were not new: they had been used since the birth of ITV in 1955, but they tended to be brash fanfares similar to those used by
studios at the start of films – like the famously naff revolving knight on
Channel 4’s flying bricks were the moment when these primitive idents were replaced by a more subtle concern with an ambient ‘brand identity’. They were devised by a designer called Martin Lambie-Nairn who went on to create the even more influential idents for BBC2 which reimagined the number 2 as a fluffy, somersaulting toy or a plane gliding across a wooden floor. They were widely credited with helping the channel shake off its forbiddingly highbrow image.
Soon all the channels were using idents. BBC1 had Haka-dancing rugby players and acrobats suspended from ceilings; Channel 4 had skyscrapers and pylons magically aligning to form the number 4; ITV1 had, for more obscure reasons, people hugging trees and examining their beer bellies. The Zen-like calm of the ident is a creative response to channel multiplication and the power of the remote control. The hope is that people will tire of this dizzying choice and simply stick with one channel, with its familiar filmic language. Some people complain about how much money they cost, particularly to BBC licence-payers. But the best ones, like those hippos swimming in a circle, are like understated poems in vision and sound – a tiny antidote to the brash, exhibitionist programmes they increasingly introduce.