During the cable boom of the 1990s, a flood of “niche” channels stormed the airwaves—each with its own allegiance to one particular genre. Now, it seems these specialty networks are abandoning this model, replacing their ultraspecific slates with more general, sometimes genre-spoofing programming. High concept networks like The SciFi Channel have simply become “Syfy” and networks like AMC (“American Movie Classics”)—a channel once focusing strictly on classic film—have made a strategic decision to deemphasize, putting a more general focus on movies and paying big bucks for original content. IFC is no different.
As an early “niche” network, the once “Independent Film Channel” made its debut in 1994. Its aspirations were pure and intentionally snobby. Among the specialty tv landscape, their game-plan was simple: snub the mainstream and appeal to the arthouse crowd. Boom one year; bust the next. The model worked, but by the mid 2000s, tastes were changing. Today, “IFC” stands for IFC. Nothing more; nothing less. No more highfalutin concept. No more “niche” limitations. In its place, the network still maintains an indie flavor, but offers programming that’s less artsy and more oddball. With its new non-ethos and ever ambiguous “Always On. Slightly Off” slogan, rebranding the network poses a unique set of challenges. Enter Gretel.
With a creative team led by Ryan Moore, Gretel had its work cut out for them. We recently caught up with Ryan to get the scoop on the studios network rebrand for IFC.
Read the full interview with Gretel creative director, Ryan Moore, here.
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