Gorky Television: Difference between revisions

From the Audiovisual Identity Database, the motion graphics museum

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'''Availability:''' It was mostly seen on documentary films during its timespan.
* The {{color|red}} background variant can be seen on most of its documentary films, starting with ''Про тебя ли, Волга-матушка...'' and lastly with ''Городецкие мастера''
* The black background variant has only appeared thrice, which are ''Радио революции'', ''Родом из комсомола'' and ''Волжские напевы''.
* The white background variant was seen on ''Здравствуйте, лошадь'' and ''Полюса недоступности''.

Revision as of 17:28, 8 August 2024


Logo (1968-1987)

Visuals: On a red background, there is the television name in a written, Cyrillic format along with a stylized antelope prancing with one of its legs acting as the top of the "Г".

Variants:

  • The background color may change depending on the film.
    • On Радио революции, Родом из комсомола and Волжские напевы, the background is black.
      • In its earliest appearance, the colors were inverted.
    • On Над реками, над морями, надо льдом, the background is colored blue.
    • On Борис Мокроусов. Песня, the background is colored teal.
    • The background has a fabric texture on Голоса и краски.
  • A variant on Город Горький has the television name with small strokes between the letters.

Technique: A still printed image.

Audio: None.

Availability: It was mostly seen on documentary films during its timespan.

  • The red background variant can be seen on most of its documentary films, starting with Про тебя ли, Волга-матушка... and lastly with Городецкие мастера
  • The black background variant has only appeared thrice, which are Радио революции, Родом из комсомола and Волжские напевы.
  • The white background variant was seen on Здравствуйте, лошадь and Полюса недоступности.
  • The dark-red, blue, teal, and fabric background variants made their appearance on Люди, огонь, металл, Над реками, над морями, надо льдом, Борис Мокроусов. Песня and Голоса и краски.
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