Television: At Screen-up, visitors to the trailer shows were treated to a concentrated dose of new ideas from the future of television. Among the presentations—which often resembled the best final projects from a master class for editors—the trailers for the new Swiss television channel 3+ stood out in particular. Not only did the amazed viewers witness a world premiere featuring CSI episodes dubbed in Bernese German or the St. Gallen dialect, but the humorous presentation was also topped off with a James Bond appearance. Pierce Brosnan himself urged media professionals to promote 3+ more frequently in the future. For this cheeky commercial, station head Dominik Kaiser managed to win over the Bond actor’s original German dubbing voice. The trailers, which were met with enthusiastic applause, were produced in-house at 3+ by the art director and editor team of Volker Haak and Robin Alting van Geusau. (pan)

Awards The shortlist for the Swiss Edi 07 Corporate and Advertising Film Award is quite long. 
The Swiss Commissioned and Advertising Film Award has an exceptional year ahead: About one-third more films were submitted than last year. With 264 films, the Edi has set a new record (See: )  
That, combined with the impressive quality of the film productions, has resulted in the most extensive shortlist in the Edi’s eight-year history. Instead of 17, as was the case last year, there are now 30 commercials on the shortlist. In addition, there are 17 contenders for an Edi in the Clips & Trailers category and 10 in the Corporate Films category.
 
The submitted entries were evaluated by independent jury teams for each category. Each team consists of seven experts from the fields of film, client agencies, and the advertising industry. The names of the jury members and their evaluation criteria can be found in detail at www.werbewoche.ch, along with further information on the three shortlists: Commercials, Corporate, and Clips & Trailers.
 
Shortlist Screening The shortlist screening offers an overview of the 2007 films in all categories. «There’s hardly a better opportunity to see the best of Swiss filmmaking,» says the Swissfilm Association.
 
The show will take place on Tuesday, November 20, at the Abaton Cinema in Zurich. 12:30 p.m.: Corporate films; 3:00 p.m.: Clips & trailers; 4:00 p.m.: Commercials. The screening is open to the public and free of charge. Publisuisse will provide coffee and cake.
 
 
Shortlist of Clips & Trailers  
UBS Audience Choice Award (Absolutturnus) / The Bruno Bondi Show 024 (Contexta, Peek) / The Bruno Bondi Show 028 (Contexta) / The Bruno Bondi Show 030 (Contexta) / Red Head Speedskater (Sahrathan Records) / Delikatessen (SF Redaktion Film, Filmstyler Pictures) / Endlich Nichtschwimmer (Yo Mama Records, Kompost Productions) / Stunthero (SF, Encore Pictures) Tarzan (Schweizerische Mobiliar, Wirz Werbung) Titanic (Mobiliar) / Parkbench (Arte, Encore Pictures) / Seesaw (Arte) / Dutti the Giant (Frenetic Films, Plan B) / Alphorn (Kuoni, Wirz Werbung) / One Way (Universal Pictures, Manifesto) SF ECO (SF Design) / St. Helvetia (Musikvertrieb, Das Kollektiv).
 
 
Corporate Shortlist  
SPHAIR – live your dream (Swiss Air Force, Center for Electronic Media) / It’s all in you (Völkl, Condor) / Da Vinci (IWC Schaffhausen, Futurecom) / Idyllerosion (Bergwaldprojekt Foundation, Andy Ruf) / Destination Kuoni (Kuoni, Absoloutturnus) / Avanti Brava (School for Guide Dogs, MAX Films) / Interlude (SBB, Blush Films) / Selma (EIP, Base-Court) / 24 Hours with Meteo Switzerland (Meteo Switzerland, Baerbel Zierl) / The Solution Behind the Solution (Bühler AG, New Identity).

 On Tuesday, electrical appliance manufacturer Jura was honored with the GFM Marketing Award 2007 at the 66th General Assembly of the Swiss Marketing Association (GFM). The company received the award in recognition of its reorientation of small electronic household appliances into a globally successful brand for fully automatic coffee machines, according to a statement issued on Wednesday. Since 1984, the GFM has been awarding the annual prize of 20,000 Swiss francs to personalities and companies that have distinguished themselves through special marketing achievements.

 There is currently a sense of anticipation in the Swiss film industry: The nominees for the Edi.07 shortlist—the award for commissioned and promotional films—have just been announced. In many ways, this year’s Edi.07 is an exceptional edition: About a third more films were submitted for this year’s Swiss Commissioned and Advertising Film Award than last year—more submissions than ever before. This, combined with the impressive quality of the film productions, has resulted in the most extensive shortlist in the Edi’s eight-year history.

The Swiss Edi. Commissioned and Advertising Film Award is the official award for Swiss commissioned filmmaking. Under the patronage of the Federal Department of Home Affairs, an Edi. and a certificate of recognition are awarded annually to commissioning companies, production companies, and directors for the best commissioned productions created during the previous year. The goal is to promote the creative quality of Swiss commissioned productions. The Edi. honors outstanding cinematic achievement; a winning film must demonstrate absolute excellence in all film disciplines—«just» a good idea is not enough.

Jury: The submitted productions are evaluated by independent jury teams for each category. Each team consists of seven experts from the fields of film, client agencies, and the advertising industry. The jurors review all submitted productions and, in a first round of judging, nominate a shortlist; in a second round, the jurors award the three best productions with one Gold, one Silver, and one Bronze Edi each. An additional expert jury, consisting of specialists from the film industry, awards special Edi’s in individual cinematic disciplines.

Evaluation Criteria: Films may be submitted in three categories (Commercials, Corporate, and Clips & Trailers). The same cinematic disciplines are evaluated in all three categories. The most important evaluation criterion is the audiovisually compelling execution of the communication brief. Screenplay, direction, cinematography, sound, and editing must form an artistic whole that does justice to the content being conveyed and faithfully fulfills the client’s brief for the production.
In each category, the following film disciplines will be evaluated:

Overall Impression: The work is evaluated as a whole, that is, in terms of the harmony among the individual disciplines.
Idea / Concept / Screenplay
This is assessed in the context of the communication task.
Direction
The evaluation focuses on the director's performance, the dramatic execution of the story, the direction of the actors, and the use of visuals and sound.
Camera
The evaluation focuses on photographic quality, which includes composition, lighting, and visual storytelling.
Post-Production Editing
The quality of the editing and assembly, as well as the dramatic structure of the visuals and audio, will be evaluated.
Post-Production: Visual Effects
Visual effects such as 2D and 3D animations, compositing, graphics, and titles will be evaluated.
Post-Production: Music & Sound Design
The music and sound design, the quality of the composition, the use of sounds and effects, and how they work together will be evaluated. Exception: For music videos in the Clips & Trailers category, the music will not be evaluated.
Shortlist Screening The shortlist screening offers an overview of the 2007 film entries in the Corporate, Commercials, and Clips & Trailers categories. There’s hardly a better opportunity to see the best of Swiss filmmaking.
Tuesday, November 20, 2007
Abaton Cinema, Auditorium A, Heinrichstrasse 267/269, 8005 Zurich
12:30 p.m. Corporate Films
3:00 p.m. Clips & Trailers
4:00 p.m. Commercials
The presentation is open to the public and free of charge; registration is not required. publisuisse will provide a coffee and cake buffet.

Remo Bachmann has found each other with Daniel Brüngger and wants to do more than just manage at Brüngger Bachmann again. He knew that a change was needed after eight years. And when Remo Bachmann has something in mind, he focuses his "entire behavior on this goal". 
When Bachmann heard by chance that Daniel Brüngger was setting up his own business, he arranged to have dinner with the former managing director of TBWA/Tequila, Lowe Direct and OgilvyOne. "We only knew each other briefly and had never met in private before. It turned out to be a very long evening."
 
Brüngger and Bachmann had intensive discussions, identified common goals and also agreed on things that they both wanted to leave behind. For example, large networks. "You may have more or less secure conditions there, but you can only move things slowly and with difficulty. A small, flexible and owner-managed agency, on the other hand, can react quickly and act effectively."
 
Remo Bachmann set himself the goal of four years in which he wanted to manage the creation as CD at the Swiss leader for dialog marketing. "Exciting stories and budgets for Kuoni, Pfister, Bluewin and NZZ, among others, meant that there was no shortage of challenges and the time span ultimately amounted to eight years. I was also appointed to the Cannes jury in 2004 and was able to exchange ideas with international works and people."
 
Then came the move from Adliswil to the advertising factory near Zurich's Stadelhofen. "I'm always open to change, because new opportunities suddenly open up. So I was looking forward to the challenges." But things often turn out differently than you think.
 
After several weeks of casual contact with Brüngger, Bachmann found the path for the future during his vacation and called his current partner while driving on the Dutch highway: "I'm getting in."
 
After more than twenty years in the job, he feels ready for an exciting new start.
 
Remo Bachmann already enjoyed being creative as a child and "preferred doing handicrafts to riding around on a moped". In 1979, he completed the preliminary course at the Zurich School of Design and decided to do a four-year apprenticeship as a graphic designer at Zogg Kettiger Gasser. Working for a small but excellent agency in a factory studio on the waterfront, he later quickly realized "that you can't get very far with a conventional design apprenticeship. Bachmann decided to study visual communication at the Higher School of Design in Zurich, now the University of Applied Sciences, where he was also able to expand his theoretical knowledge. "Another three years of training instead of working was a wonderful life." With healthy self-confidence and a "thick rucksack", he wanted to work independently as a freelancer and do great things.
 
The next few years were actually not bad. However, he would have glued more catalogs and pasted brochures than created corporate design. "You don't get anywhere that way." Remo Bachmann also realized: "I can't really make a name for myself as a freelancer."
 
To change this, he wrote a letter of application to several large agencies in 1997. However, to the surprise of the man who had trained for years, they all decided that a freelancer had "too little agency experience".
 
Bachmann slipped into the world of dialog marketing at Dr. Marc Rutschmann AG by chance - "and quickly became fascinated by this discipline. At the time, people didn't really know what it was." Bachmann realized that his training could be ideally combined with the more rational methods of target group analysis and behavioural studies. His successful work did not go unnoticed by Gilbert Fisch. He was headhunted in 1999. "Fisch Meier Direkt immediately impressed me as an agency. They were also booming and hired 33 new people in my first year." They worked for clients such as Deutsche Post, SBB, Blick Swisscard and also realized the "Joker" program for Swisscom in addition to "many publishing stories". When the agency "literally exploded" and eventually grew to over 70 people, Bachmann was also promoted from AD to CD.
 
When Gilbert Fisch left the agency and it physically moved under the Publicis umbrella in 2005, Bachmann noticed more and more changes. "Two corporate cultures collided. A process of discovery was needed. A dialog agency and a traditional one are still completely different in terms of thinking." Even though in the era of cross-media it no longer has the air of "dirty graphics and pork belly advertising", Bachmann missed the willingness to learn from one another.
 
This is now set to change at Brüngger Bachmann. The two partners complement each other perfectly. Bachmann is responsible for the creative side and wants to "develop and design more than just manage" in future. Daniel Brüngger is responsible for conception, consulting and agency management as well as databases and customer base analysis.
 
Brüngger Bachmann is positioned as a communications agency with a focus on dialog. "We stand for sustainable communication impact in consumer and business markets, dialog-oriented strategies and concepts - regardless of the communication discipline. In business-to-business markets, we work as a full-service communications agency with special expertise in direct marketing/dialogue marketing and offer holistic, integrated communications solutions. In business-to-consumer markets, we work as a direct and dialog marketing agency with a comprehensive understanding of integrated communication. This means that we work together with traditional agencies and offer comprehensive expertise in the development of creative and effective direct and dialog marketing programs and solve special dialog-oriented tasks."
 
Daniel Brüngger and Remo Bachmann are equal partners. Brüngger Bachmann currently works with 5 people. However, the newly founded agency plans to move to larger offices soon. An initial target for growth is 15 people. With this capacity, the agency is well positioned to handle even complex budgets.
 
In his private life, he enjoys spending time with his two-year-old daughter. His wife is a marketing manager in the education sector and also works in the communications industry. "We understand each other's jobs, but at home we want to talk about something else. As a creative person, you need breaks," says Bachmann, still remembering his formative days at the School of Design.
 
Andreas Panzeri

Radio spots The German-language radio spot award Das Goldene Ohr is celebrating its 10th anniversary. This year, in addition to spots, sound designs, jingles and other acoustic recognition features can now also be entered into the race. There is also a new audience award in cooperation with Radio 24. All entries can be submitted until October 31. More information at .

Furniture II: Wirz Advertising shows Micasa just what can happen in bed at night. 
Micasa, Migros« furniture store, not only has one of the largest, but above all »one of the best bedding departments in Switzerland,” as Micasa puts it. To raise awareness of this even further, Wirz has now created a commercial that shows in a surprising way that people like to stay in a Micasa bed a little longer. If they’re allowed, even much, much longer. In other words, you can grow old in a Micasa bed. Or at least stay in it long enough for the sleeper to grow a full beard.  
Wirz Werbung has been working for its client Micasa for four years now. Up until now, the concept has focused on creating thematic advertising for the Micasa brand rather than highlighting individual products. For example, the tagline for the latest commercial was «You’re better off staying home»—specifically, in Micasa’s beautiful furnishings. The ad showed an elderly woman waiting at a crosswalk who gets so frustrated that she lashes out at a passing car, triggering an airbag to deploy—which brings all the traffic to a standstill. This time, the action—featuring a man fast asleep—is a bit more subdued. The new campaign is also intended to promote a specific product from Micasa’s extensive lineup.
 
This somewhat offbeat version of «Sleeping Beauty» was produced by Pumpkin and directed by Frieder Wittich.
 
The commercial will soon be airing throughout Switzerland.
 
Andreas Panzeri

Op-Ed: Many People Want to Declare the Movie Theater Dead. Wrongly so, says Jean-Claude Bruhin… at least according to certain «experts» and so-called industry insiders. In the «modern age,» there are many people who want to declare the movie theater dead. Multimedia in the living room and DVDs on the computer are all the rage. And declining attendance figures, along with a lack of blockbusters, are fundamentally calling the film industry’s survival into question. So is the movie theater really threatened with extinction?—Certainly not!  
The fact is that, while the 2007 movie year in Switzerland is expected to draw «only» 15 million moviegoers—and thus record fewer admissions than the successful previous year—this figure will still be well above the average for the 1990s. It is also a fact, however, that from an international perspective, the current year has so far been an outstanding one—and in some respects, even a record-breaking year. The U.S. saw a 30 percent increase in moviegoers compared to the previous year, and the U.K. celebrated its best summer at the box office in 40 years. The reason for this is, on the one hand, the poor summer weather—it was the rainiest summer since records began in 1914—but on the other hand, it’s also due to the sensational success of blockbusters like «Harry Potter 5» and «Pirates of the Caribbean 3.» These two films, along with «The Simpsons,» «Shrek the Third,» and «Spider-Man 3,» all made it onto the list of the 50 most successful films in cinema history.
 
The movie business is cyclical, with repeated ups and downs. The pessimists in the local film industry therefore wrongly point to the alleged lack of blockbusters from the U.S. International box office revenues, however, prove the critics wrong—including when it comes to the future of Swiss movie theaters. What is often forgotten is that the success of international blockbusters ultimately benefits not only the major studios and, by extension, the film industry, but also the cinema industry in smaller countries like Switzerland. Consequently, these high box office returns will ensure that the film industry will continue to have sufficient resources for a long time to come to attract audiences here as well with outstanding productions.
 
With that in mind: Cinema is dead—long live cinema!
 
Jean-Claude Bruhin, COO of Cinecom

Telefonieren Inhalt & Form has created a campaign for Migros to draw attention to the extraordinary rate reduction offered by M-Budget Mobile. M-Budget Mobile reduces calling rates within Europe by 50 percent, thereby offering the lowest per-unit rate in both Switzerland and Europe. This is meant to finally put an end to the hassle of navigating the rate jungle. The nationwide poster, print ad, and online campaign—which includes various guerrilla marketing activities—is available in nine languages.

Energy Savings: With the new Total Cool Active, you can save up to 70 percent on energy while doing laundry. The biggest source of energy consumption in a washing machine is heating the water. Since Total Cool Active works starting at just 20 degrees, it enables responsible use of resources—both for the environment and your household budget. Exxtra has designed a campaign with a clear message for this new laundry detergent from Migros.

Mediafocus: Politics and business dominated the advertising market last month. 
Advertising spending rose by 11.6 percent year-over-year in September 2007. The cumulative increase since the beginning of the year stands at 8.5 percent. As expected, political campaigns recorded the strongest monthly growth—up 139.3 percent—during the final stretch of the election campaign. With a total advertising spend of 10.7 million Swiss francs, the parties communicated their political views and candidates.
A comparison of the share of advertising spent by the Federal Council parties with their current political representation (in percent) in the National Council confirms what is already known, but may also come as a surprise. The SVP’s share of advertising is 25 percentage points higher than its percentage share in the National Council. For the SP, this comparison shows the opposite trend: its share of advertising is 13 percentage points lower than its percentage share in the National Council. For the remaining Federal Council parties, this comparative figure tends to fall in the middle, in line with their political orientation. The FDP spends a higher percentage on communications than its representation in the National Council (plus 10 percentage points), and the CVP has a higher percentage of representation in the National Council than in its election advertising (minus 4 percentage points). However, the impact of the election advertising will only become clear once the new political composition of the National Council is announced.
With a 32.1 percent increase (up 12.1 million Swiss francs), the key financial services market also posted a strong month for advertising. A look at trends in the product groups reveals which areas of the financial sector are primarily responsible for this positive trend: The insurance product group (+43.5%; 4.8 million Swiss francs), investment products (+43.9%; 3.4 million Swiss francs), and basic products (+135.6%; 1.8 million Swiss francs) recorded the largest year-over-year changes. Among the top five companies in September, Raiffeisenbank posted the strongest growth (up 408.5%).
Across all product markets, image advertising was also among the monthly winners. With a 27.3 percent increase, 17.5 million Swiss francs were spent on non-product-related advertising in September. The advertising markets for services (+19.4%), telecommunications (+14.8%), watches/jewelry (+14.6%), and consumer electronics/photography/movies (+14.5%) also posted significant increases in September compared with the same month last year.
This month, the media groups teletext, television, billboards, and movie theaters all posted growth rates above the average. Looking at the cumulative data for the months of January through September 2007, the television media group posted growth above the average.
Goldbach Media
 
 

 
Dominic Geisseler will take over as Editor-in-Chief of Schweizer Illustrierte on January 1, 2008. The 46-year-old studied German, journalism and literary criticism in Zurich and worked for Schweizer Illustrierte from 1989 to 2000, the last five years as Deputy Editor-in-Chief. Geisseler was then editor-in-chief of the Coop Zeitung. Since 2005, he has been responsible for the program guides Tele, TV2 and TV4, also as editor-in-chief, according to a statement on Wednesday.The editor-in-chief position had been vacant since Marc Walder moved to SonntagsBlick in February 2007. Urs Heller, publishing director of Schweizer Illustrierte, took over the overall management during this time. Heller remains Editor-in-Chief of Schweizer Illustrierte Style and is responsible for all lifestyle magazines of Schweizer Illustrierte.