Whether on a visit, in the sauna or at the airport - Micasa's facilities come along everywhere. The broad-based campaign can be seen on- and offline in various media.

Responsible at MGB / Micasa: Roman Reichelt (Head of Marketing Communications MGB), Christoph Vogler (Head of Communications Specialist Stores), Lukas Vasvary (Head of Communications Micasa), Carine Bernet, Lea Gerber (Project Management Communications Micasa), Michel Keller (Division Manager Micasa); Philipp Marquard (Head of Media MGB), Valeria Marra (Project Management Media); responsible at OMD: Daniel Crespo (Media). Responsible at Leo Burnett: Anna Leudolph, Barbara Hartmann (creative), David Fischer (CD); Martin Stulz (ECD); Michael Gassler, Aline Litchenhaus (consulting); Erasmo Palomba (FFF); Natalija Pocuca (styling); Who's McQueen Picture (film production), Greg Bray (director), Tobias Dengler (DoP).
 

The decision for the state capital was the right one - in year one after the Stuttgart premiere, this was once again demonstrated by the extremely positive outcome of the 19th Spotlight Festival for Moving Image Communication. With the Literaturhaus as host for the Spotlight Forum lecture program and the Staatsgalerie for the big audience vote and award show, the festival organizers had once again found two great locations. As in 2015, Lord Mayor Fritz Kuhn welcomed the Spotlight audience in person. The festival had arrived where it belonged - in Stuttgart. Now there is a media triad consisting of the International Festival of Animated Film, FMX and Spotlight. He was very pleased about this. Then the SWR3 cult presenters Zeus & Wirbitzky took over. The combination of the well-presented morning show duo and a very impressive 2015/16 competition made for a stimulating Saturday evening in the "appropriately" creative ambience of the Staatsgalerie Stuttgart.

Group photo of the 2016 winners

Individual responses to social insecurity

The last year has changed us and our society dramatically. The advertising industry is confronting these political and social upheavals in the only appropriate way: with differentiated messages. There are the odd escapist ad, but the focus is predominantly on values, emphasizing empathy, humanity and cohesion within families and society. Beyond pure entertainment, there were a number of contributions that will resonate. This highest art of advertising left particularly clear traces in the 2016 Spotlight competition. Significantly, the expert jury and the audience were more in agreement than ever. The emotional impact of these commercials, which are now also highly successful in viral terms, resonates with amateurs and professionals alike. Representative of this line is "#heimkommen" for Edeka, in which a grandfather fakes his death in order to gather the family around the Christmas table (Werbewoche.ch reported), or the animated work "The Letter for Otto", in which the grandchild's wish list reaches grandpa late, but all the more effectively - both were rewarded with Gold Awards.

"Two student films are particularly noteworthy this year, which are so good that they would have won even if they had been submitted by professionals. The jury has therefore not only awarded them gold, but also a special prize," says Anne-Friederike Heinrich, editor-in-chief of Werbewoche and member of the expert jury. The two outstanding student commercials confidently evoke deep emotions. In the overwhelming landscape of the Scottish Highlands, a man bids farewell to his dead brother ("Dear Brother", Filmakademie Baden-Württemberg, Werbewoche.ch reported). "Moonjourney" by the Munich University of Television and Film transforms the flight of a Syrian father and his daughter to Europe into a gripping, energy-sapping journey to the moon. The jury honored this exceptional quality with gold and a spontaneously created special prize.

The competition - audience vs. professionals

The day before, the high-ranking jury of experts selected the winners of the 2015/2016 advertising year. On Saturday evening, it was the public's turn: the advertising enthusiasts in the packed Staatsgalerie event hall voted live and digitally for their favorites at the big award show. A unique constellation within the international creative competitions - because only Spotlight enables a direct comparison between the votes of the end consumers and the industry players.

The two sections Spotlight Professionals, the main competition for professional spots, and the young talent competition Spotlight Students are divided into the categories TV & Cinema, Trailer/Teaser/Trenner and Web & Mobile. Inspired by the partnership with the Stuttgart International Festival of Animated Film, since last year there has also been an Animated Com category for commercials that focus on animation and animation techniques. This time, the cooperation has been intensified - and there are already new plans. Ulrich Wegenast, Artistic Director of the Stuttgart International Festival of Animated Film, comments: "Next year, we want to interlink the areas of moving image communication and animation even more closely and create a unique event format for the creative scene." And Dittmar Lumpp, Commercial Director of the ITFS, adds: "In cooperation with the Spotlight Festival, we can also draw the advertising industry's attention to the potential of animation in communication".

The insider's perspective: Presentations in the Spotlight Forum

What motivates personalities in moving image communication? Top German creatives answered these questions in the well-attended Spotlight Forum lecture series. Under the motto Backstage - a look behind the scenes, they spoke about current topics and trends in the film and advertising industry. Viktor Vahl (Digital CD Heimat, Berlin), Andreas Pauli (CCO Leo Burnett, Frankfurt / Leo's Thjnk Tank, Munich), Holger Oehrlich (Head of Advertising Germany at Kaufland), Helmut Hartl (owner of Embassy of Dreams Filmproduktion, Munich) and Rafael Zabala (sculptor and animation artist, Psyop Animation, USA) provided information and took part in discussions.

You can find all the results of this year's Spotlight Awards here here.

SRF 1 accounted for costs of CHF 10.8 million in 2015 and SRF 2 Kultur for CHF 11.4 million. The costs were lower for SRF 3 at CHF 9 million and for SRF 4 at CHF 3.9 million. SRF Musikwelle cost CHF 2.3 million and SRF Virus CHF 1.2 million, according to the annual report.

Radio station	Costs per year (in millions of francs)
Radio SRF 1*	10,8
Radio SRF 2 Culture*	11,4
Radio SRF 3*	9,0
Radio SRF 4 News*	3,9
Radio SRF Musikwelle*	2,3
Radio SRF Virus*	1,2
Information formats**	28,1

* without information formats
** Information formats include all news, primetime and weekly programs from the radio editorial department (station editorial offices, specialist editorial offices, regional editorial offices and correspondents)

Without info programs

However, this does not include information programs, which are mainly broadcast by SRF 1 and - almost around the clock - SRF 4 News. A further CHF 28.1 million is listed in the compilation of broadcasting costs under the heading "Information Radio".

SRF 1 and SRF 2 broadcast almost the same number of hours of music, namely 5450 (SRF 1) and 5722 hours (SRF 2 Kultur) respectively. Various genres are played in the first program. In the second program, classical music accounts for by far the largest share - alongside ethno, jazz and folklore. On SRF 1, the proportion of "topicality and information" is almost three times as high as on SRF 2 Kultur: SRF 1 broadcast 3346 hours - of which 1742 hours were devoted to regional programs. SRF 2 Kultur broadcast 1223 hours of information.

The music-free information channel SRF 4 News had the highest share with 5864 hours. That's over 16 hours per day. SRF Virus offers music almost around the clock - 7403 hours per year. However, the station only offered 426 hours of information.

Different range

The annual report lists not only national and regional news programs under "Current affairs and information", but also features on society, social issues and religion, interviews and portraits, and advice programs. There are differences in the reach of the stations: SRF 1 has an average daily audience of 1.624 million listeners, while SRF 2 Kultur has 321,000 listeners. SRF 4 News has an average of 237,000 listeners. In terms of market share, this is 31.3 percent for SRF 1, SRF 2 Kultur has 3.2 percent and SRF 4 News 0.7 percent. SRG already reported the costs of its German-language television broadcasts last fall. According to the list now published, TV information programs such as "Tagesschau", "10vor10", "SRF Börse", "SRF Meteo", "Glanz&Gloria" and voting programs cost around CHF 53 million per year. The "Tagesschau" programs account for around CHF 23 million of this. The program around the federal elections in autumn 2015 cost CHF 3.8 million. (SDA)

Detailed information on SRF's broadcasting costs can be found at Srf.ch/sendingcosts can be viewed online. The other business units - RSI (Italian-speaking Switzerland), RTR (Romansh-speaking Switzerland) and RTS (French-speaking Switzerland) - have also published their TV and radio costs on the internet. The figures published today are the actual costs in 2015 based on the annual financial statements.

A direct mailing was used, which can be opened at the touch of a button and is intended to draw attention to the US company's good customer service. In addition, the agency created an advertisement at the airport.

Responsible at Enterprise Rent-A-Car, Dietikon: Stefan Baumann (Managing Director), Isabel Klug (Marketing). Responsible at Agentur am Flughafen, Altenrhein: René Eugstair (Creative Direction), Dominique Rutishauser (Art Direction), Valeria Hörler (Graphics), Miriam Egli (Text/Consulting), Patricia Eugster (Media/Consulting).
 

Who doesn't know the problem? You want to go out for a spontaneous meal with a few friends. Depending on the time and day of the week, it can be quite a challenge to get a table in the city of Zurich. It's even more difficult if you're looking for space for a group. Thanks to its size, the Commihalle restaurant offers a solution. With around 250 seats, you can also find a table as a group. Strebel Juon created various motifs that incorporate possible group preferences and depict them in the style of band logos. For example, one group was called "The every Tuesdays" and another "The 4 Espressos". The subjects can be seen on cine-pictures and postcards.

Responsible at the Commercio-Piccadilly restaurants: Nicolas von Graffenried, Roland Lässer, Corinne Sutter. Responsible at Strebel Juon: Robin Strebel, Kathrin Nutter, Joceline Strebel (creation); Gian Marco Juon, Esther Kümin (consulting); Fluxif AG (CGI).

 

Belgian-born Judith Schnigula, who holds a master's degree in marketing, services and communications management from the University of St. Gallen, now applies her diverse work experience in industry, media and agencies - most recently at Today Zurich - as account manager at Fastr.

After training at Sawi, Gregor Juritz gained his experience at Publicis, Lowe, Havas Worldwide and as a freelancer at TBWA, By Heart and Draftfcb, among others, which shaped him into a generalist of words. He also ran his own small agency in Zurich for about seven years. His work has won numerous awards at Cannes, the ADC and the Swiss and German Dialog Marketing Awards.

 

For almost two weeks now, we have been witnessing a rapid reconquest: thanks to a certain John Doe, the fourth estate is regaining much of the relevance and reputation that it had lost in recent years through a combination of mordant inhibition and self-destruction. The financial scandals, which have been fished out of a flood of historical documents by research professionals, attractively edited and competently commented on, not only show the systematic corruption of our greatest political achievement, democracy. They also remind us that the watchdog function of our media is perhaps more important than neat tips on going out, funny lifestyle supplements and other industry-standard service junk. "Journalism means publishing something that someone doesn't want published. Everything else is PR." George Orwell knew the raison d'être of the journaille, and rarely has it been more visible and effective than in the current investigative festivals staged in Switzerland by the Tages-Anzeiger / Sonntagszeitung tandem.

It's no wonder that Arthur Rutishauser, the editor-in-chief of its two publications, wrote last Saturday that "the work of the global journalist network ICIJ has brought a lot of good [...] that we as participating media can be proud of". For HIS boss, however, this good lies "only" in journalistic profiling. At least for the time being. For advertisers, the conflagration ( Oh God ! ) sparked by a whistleblower ( Yikes ! ) is not a premium environment for image ads. And that doesn't just apply to big banks, fiduciary offices and law firms, but also to many other companies, especially those with a Swissness factor. The Panama Papers are unlikely to make a dent at the newsstand. And even if they did: Any circulation success would be disproportionate to the effort involved in this immense mole work. However, when it comes to researched scoops as a competitive advantage that will also have a commercial impact at some point, Tamedia publisher Pietro Supino seems to be thinking long-term for once - fortunately for the five editors who have been released from all other obligations for months. And even more fortunately for the Swiss public, which has been so carefully informed about blatant abuses.

But Rutishauser and Supino are also lucky. Because only members of the International Center for Investigative Journalism, or ICIJ for short, have access to the Panamanian treasure trove of data. The fact that the three Swiss ICIJ networkers are all on Tamedia's payroll is probably due to the innovative working conditions at the cross-title research desk in Bern. The noble department launched four years ago, which also had the exclusive Swiss rights to Offshore, Swiss and Lux Leaks, seems to be slowly paying off. However, such a monopoly position naturally arouses mistrust and collegial jealousy. While the state-supporting SRG broadcasters and the notoriously Scoop-sceptical NZZ are not only critical but also appreciative, the weekly newspaper (of all places!) considers the ICIJ model to be a journalistic step backwards compared to the good old Wikileaks days. This is because the raw data is now only shared within a circle of insiders instead of with everyone, as Assange radically did. Yet the journalistic achievement lies precisely in honing this raw data until it becomes fact-rich but comprehensible stories, which can then develop their socio-political impact.

Regardless of the investments made by leading publishing houses, the Panama Papers and their preparation are primarily a worldwide advertisement for globalized non-profit journalism à la ICIJ. The investigative consortium, founded in 1997, is itself part of the Center for Public Integrity, a US-American original cell of the increasingly important donation-financed journalism. The Panama Papers reveal for the first time the full potential of this Orwellian cooperation model. After all, anyone who takes on the Putins of this world so thoroughly is better able to spread the risk of repression across as many shoulders and institutions as possible. In addition to the asymmetrical publication tactics, the omertà with which the whole operation was planned and executed with a general staff is also impressive. This refreshingly unjournalistic mixture of secrecy and solidarity lends the whole thing a clout that even unsettles the most powerful and corrupt for the first time. And that, at least, is a start.

Oliver Classen is media spokesman for the development policy organization "Berne Declaration". He previously worked as a media journalist.

The House has been supporting Victorinox Travel Gear since the beginning of 2015. Among other things, the communications agency developed a basic concept for product films for the traditional Swiss company last year and realized a pilot film for the "Lexington 15 laptop bag".

Now The House has already developed another film based on the aforementioned concept. This one stages the revised luggage series "Spectra 2.0 Expandable", which won the Reddot Design Award (Winner 2016), in ten languages. The innovative luggage was built from scratch in CGI without CAD data - based on the physical product prototypes. Dynamic motion graphics and technical music/sound effects support the innovative character of the products staged in the airport environment.
The film is used at sales locations, at trade fairs, in digital media and on the social web, as well as in internal communications or at training sessions.

Responsible at Victorinox Travel Gear: Urs Keiser (Global Head of Marketing and Sales), Adrian Guertner (Senior Marketing Communication Manager). Responsible at The House: Grischa Rubinick (Executive Creative Director), Patrick Meyer (Creative Director Copy), Manuel Steiner (Art Director), Andreas Jorgella (Consulting and Project Management); Production: Daniel Müri (Cloudscape).

The book is published by Thames & Hudson and is edited by the two curators Tido von Oppeln and Burkhard Meltzer. "Rethinking the Modular" is a multifaceted compendium on the subject of modularity. It explores the significance of modularity in architecture and design in the past, present and future. The starting point of the book is the visionary design system developed by Fritz Haller and Paul Schärer 50 years ago. It is supplemented by texts by leading designers, architects and theorists who reflect on the diverse significance and influences of modularity over the last fifty years. The work of the USM Masterclasses, who designed their own interpretations of modularity as part of the anniversary campaign, and the resulting exhibition are also documented.

Atlas Studio is responsible for the design of the richly illustrated book. The photographs were taken by Anne Morgenstern.

Responsible at USM U. Schärer Söhne: Alexander Schärer (CEO), Stéphanie Borge (Group Marketing Director). Responsible at Scholz & Friends Switzerland: Lukas Frei (creation), Michèle Gutmann, Tanita Bohny, Petra Moser, Tobias Baumann, Martin Samsel (consulting and strategy).
 

Dialog with readers by means of letters to the editor has been important to the Tages-Anzeiger since the newspaper was founded, according to a statement. Since digitalization, the Tages-Anzeiger also offers many additional opportunities for interaction online. They are now offered in the "Forum" section at Tageszeiger.ch/forum bundled and supplemented by additional formats.

On May 2, the "Forum" was launched on the website and in the apps of the Tages-Anzeiger. A participatory format will appear there twice a day. From the question formats appreciated by readers to live chats and playful interaction, the Tages-Anzeiger is testing a wide range of vessels to get even closer to users. For the launch of the "Forum" section, these include a broad-based survey on the acceptance of cannabis, a call for readers' voices and stories on the topic of naturalization procedures, and an estimation quiz that brings readers closer to figures and correlations from business and society in an entertaining and surprising way.

In addition to these new formats, the "Forum" also features reader questions with answers from Peter Schneider and Bettina Weber, as well as the service section of "Law and Consumption. The "Schaadzeile," in which users write the text for a cartoon by Felix Schaad, is also new here. The digital "patent recipes," where editor Matthias Schüssler reveals tricks for easier use of computers in a video column, also find a place in the "Forum" section.
 

Civitacampomarano is a small, sleepy village in the province of Campobasso. Cell phones are a minor issue for the 400 or so, mainly older, residents due to a lack of coverage - not to mention a mobile data network. What do you do all day without a smartphone and a broadband connection to the outside world? You could, for example, go out into the street, talk to other people, trade, buy, ask questions, communicate - without a network, but with a real one.

The Milanese artist Biancoshock shows with his Web 0.0 project that all the virtual functions that the majority of our society considers absolutely necessary today also exist - and work - without the Internet. The result is photos that are not only good, but also thought-provoking. Life without 4G was and would actually be quite nice. (hae)
 

Source: Biancoshock.com

Who hasn't experienced this: The old television has given up the ghost and a new set is due to be purchased. You are helplessly confronted with a multitude of products. The salesperson in the store tries to convince you that nothing below 4K, Ultra HD, UHD LED is possible. It has to be the newest, the most expensive, the biggest device, absolutely. But why do I need exactly this device myself? Does it even meet my requirements? Is it right for me? The truth is: The best television is different for everyone. At Melectronics - thanks to a wide selection and competent, fair advice - everyone can find the best TV in the world for themselves. According to a press release, the creative minds at Wirz noticed during a broad-based comparison within the industry that hardly any attention is paid to the actual needs of customers during sales talks in electronics stores - except at Melectronics. Based on this insight, the agency developed its first campaign for the client acquired at the beginning of the year.

All communication tools focus on the consulting expertise and the campaign slogan "The best in the world for me. The campaign starts with three different TV commercials, which show in a funny way the different needs of the customers, the individual advice as well as the satisfaction of the customer with the recommended product.

So the cat lady and her allergy sufferer are recommended the best vacuum cleaner in the world for them. And so the fanatical amateur referee, who can't exactly understand the decisions in front of the home screen, is presented with the best substitute in the world for him. And so the retired couple is advised on the best notebook in the world for them, so that they can finally Skype with their daughter in the South Seas without interference.

The spots are supported by an intensive three-week online promotion. The audience is called upon to describe their individual everyday problems by means of short films and banners. Problems that are directly related to a device or can be solved with the help of a device.

The funniest problem descriptions will again be answered in short film form. The prize is - of course - an individual electronics solution.

As part of Wirz's new campaign, the Melectronics brand was completely revamped. The humorous tone and orientation in Migros style was transferred to all online and offline communication tools such as flyers, shopping bags, POP material, the sales measures, digital advertising materials and social media platforms.

Since May 2, Melectronics appears in a new, honest look and recommends to you, to me, to us: "The best in the world for me".

Responsible at Migros-Genossenschafts-Bund/Melectronics: Roman Reichelt (Head of Marketing Communication), Christoph Vogler (Head of Communication Specialty Stores), Michel Noverraz (Head of Communication Melectronics), Eva-Maria Norton de Lachapelle (Project Manager Communication), Nathalie Rutz (Junior Project Manager Communication ), Susan Fässler (Junior Project Manager Communication), Simone Blaser (Project Manager Media), Patrick Marti (Division Manager Melectronics), Josef Meyer (Head POP Management. Responsible at Wirz: Livio Dainese (CCO), Gordon Nemitz (Executive Strategy Director), Fernando Perez (ECD), Michael Schmidt, Thomas Kurzmeyer (CD), Niels Schäfer, Lukas Wietlisbach (AD), Simon Smit, Peter Brönnimann (Text), Alexandra Kaufmann, Katja Schlosser (Graphics), Petra Dreyfus, Simone Jehle, Marion Schwager, Stefan Schmid, Pasang Schauwecker, Julia Neugebauer (Consulting), Adrian Huwyler, Sascha Djabarri, Aline Herzog (Digital), Nicole Suter (Art Buying), Sebahat Derdiyok (Agency Producer), Daniel Ehrensberger, Iwona Wiemann, Thomas Peller, Adina Nehrkorn, Christian Denzler, Diana Berni, Hans Burkhart, Ramona Trebucchi (Media Realization), Giovanni Bucca, Katharina Bruggmann (Production), Oliver Faes (Image Editing), Jacqueline Chevrolet, Theodor Marbet (Proofreading). Responsible at Wirz Storyline: Adrian Schräder (Senior Editor), Antonia Frind (Content and Community Manager). Responsible at Pumpkinfilm (film production): Scott Picket (Director), Christopher Novak (Producer). Responsible at Tuna (film production): Derya Tuna (Producer). Responsible at Dynamic Frame (film production): Jonas Ulrich (Director), Luzius Fischer (Production Manager), Lina Baumann (Producer). Responsible at OMD (media agency): Thomas Koller (Client Service Director), Daniela Michalak (Media Planner), Verena Wider (Digital Team Leader), Wolf Mocikat (Digital Planner).