Column: Populism, Polarization, and the «hostile media phenomenon.» »Only bad news is good news”—that’s what every journalism textbook says. If that’s true, then it should give us pause to consider how much attention the international media has recently devoted to Switzerland, the SVP, and its ill-fated sheep campaign. And so, perhaps it is not so much the election results themselves that provide food for thought in a post-election analysis, but rather what happened during the campaign.  
At first, it’s perplexing that in the land of the rebel Wilhelm Tell, a party whose leadership publicly ridicules its own supporters as a flock of sheep should enjoy such high approval ratings. This message—which isn’t even a subtle one—from what is arguably the most controversial poster of the election campaign has apparently not gotten through to Swiss citizens; otherwise, fewer of them would have followed their herd instinct and voted for the SVP at the polls.
 
On the surface, Switzerland has reached a point in this election campaign—especially after the street clashes in Bern—where other democracies have long since been: in the depths of competitive democracy. There, the clamor of battle during the primary phases, the far-from-gentle treatment of political opponents by one another, and—unfortunately—occasional eruptions of violence are all part of everyday life.
 
What is widely perceived as polarization, however, has little to do—upon closer inspection—with the left-right framework that traditionally defines political debates. Rather, the moderate parties have maneuvered themselves into the media sidelines; in any case, they have been able to make their voices heard to a comparatively limited extent. A lack of campaign funds and, above all, a lack of compelling ideas may partly explain this. To me, however, the main reason seems to be another: Right-wing populists skillfully play the media—precisely because the media themselves act in a populist manner: Through the way they select, sensationalize, and, above all, personalize news, media populism and SVP populism fuel each other.
 
And then something emerges that U.S. researchers Robert Vallone, Lee Ross, and Mark Lepper refer to as the «hostile media phenomenon.» When positions harden, the competing camps all perceive the media as «hostile»: the representatives of the moderate parties, because they receive too little attention, and the SVP, because not all journalists who give it (perhaps far too much) attention sympathize with it or fawn over it.
 
The interplay of political and media populism raises fears that even in Switzerland—which many have regarded as an island of bliss and a bastion of the educated middle class—trends are gaining momentum that could endanger, or even undermine, its hitherto unique democratic and multilingual culture. What is meant here is a culture of cooperation and a willingness to compromise across political camps and language boundaries—a culture that could actually serve as the very best model for a Europe that is growing closer together.
 
This is undoubtedly bad news, but it’s too complicated for the mass media to convey. At least we can hope that, after this election campaign, a few journalists will lose their innocence and realize: Whenever they point a finger at populists, a finger is usually pointing back at them.
 
Stephan Russ-Mohl heads the European Journalism Observatory at the University of Lugano.

Advertising Business: The BaZ Will Go It Alone in 2008; P Leaves the Shared Building. After a partnership of about 80 years, Publicitas Basel and Basler Zeitung Medien (BZM) are parting ways—even physically. «We are looking for suitable premises in downtown Basel and expect to leave the BZM building on Wiese-Ufer during the first half of 2008,» says Jürg Räber, who has been head of P Basel for the past six months. The main reason for the separation is BZM’s decision to operate independently starting in 2008.  
The partners had decided to merge just three years earlier. At the end of 2004, about 100 employees from Publicitas, Publimedia, Publimag, and P International were transferred to BZM. With this move, the media company and the advertising agency sought to strengthen their relationship.
 
The situation came to a head. But as life would have it—things have been strained between the two ever since. Even the negotiations at the time for the new management contract proved difficult because, in mid-2004, the deal between PubliGroupe and NZZ had caused uncertainty at the BZM. The fact that the Basellandschaftliche Zeitung then joined the Mittelland-Zeitung in September 2006 led to a complete breakdown in relations. This is because the MZ, like the BaZ, is under PubliGroupe management.
 
With the MZ’s expansion into the Basel region, the BaZ and MZ became direct competitors, and the P found itself caught in the crossfire. It did, however, restructure and replace some personnel. Yet the BZM remained suspicious and, despite the P lease, began setting up its own advertising sales organizations. The premature termination of the new management contract at the end of 2007 was the logical consequence. Meanwhile, BZM’s preparations for going independent are in full swing (see page 20). The only thing that still connects the two companies is the 37-percent stake that PubliGroupe holds in BZM.
 
Markus Knöpfli

The volume of commercial advertisements in the daily and regional weekly press fell by 7% in September. Income from job advertisements, on the other hand, increased by 4.2 percent, according to the latest Wemf statistics. Rolf Blum, project manager for advertising statistics at Wemf, told SDA why commercial advertising fell despite the parliamentary elections. One reason could be that September 2007 had one working day less than the same month last year. One working day accounts for around 4 percent of the advertising volume.
In contrast, Wemf recorded an increase of 53.1 percent for the Sunday press. However, in contrast to the previous month, September 2007 had five Sundays, Wemf informed SDA. In addition, the new title Sonntag, which appeared in mid-September, is already included in the statistics. The financial and business press recorded a slight increase in advertisements of 0.8 percent, as did the general press with 4.8 percent. The volume of advertisements in the specialty press fell by 11.6 percent, and 6.8 percent in the trade press.

Furniture III ViznerBorel demonstrates in a commercial how you can be creatively fussy thanks to Ikea. 
It is well known that many women like to buy lots of shoes. It is also well known that these shoes also require matching dresses - or vice versa. And, of course, you also need different jewelry to go with different colored outfits. You can't buy this in Ikea yet, although many people's wallets will be happy about that. Instead, the affordable furniture store always has new and ingenious wardrobe and chest of drawers systems. Pax, for example, is flexible, modular and can be extended at any time. Pax is a system that is well-disposed towards peace of mind and offers a versatile interior. From shoe racks and pull-out rails to sock baskets, there is everything to make life easier.  
This is demonstrated by ViznerBorel with a witty commercial in which the fight against clutter is declared in a convincing way. Message: Ikea always comes up with clever, high-quality and affordable furnishing solutions and always gives consumers the freedom to live out their own individuality.
 
This is dramatized by a woman whose resemblance to a leading actress from the series "Desperate Housewives" cannot be overlooked. She lives out her tendency towards an almost neurotic desire for order with great passion. However, the film was not shot in Los Angeles and not with the original desperate housewife, as Lajos Vizner and Guillaume Borel reveal. Nevertheless, the commercial realized by Reto Salimbeni and his Manifesto Films still looks very Californian styled even in a set found in Zurich.
 
The two-week TV commercial campaign will be accompanied by an online campaign and a competition.
 
Andreas Panzeri

 They exist, the halls and arenas that every musician would love to play. Now, in addition to Madison Square Garden, the Royal Albert Hall, the KKL in Lucerne, the Mühle Hunziken and the atmospherically unique Eulachhalle in Winterthur, which is lined with wall bars, the name of another hot spot has been added to the wish list of all rock stars big and small. "Swiss Arena" is the name of the new live stage for Swiss and international music in the virtual world of Second Life. Since last Saturday, well-known bands such as Sojurn Rossini, the UKD Project, Marijkie Freenote and Azriahl Hax have been mobilizing the virtual masses there every weekend. All live, mind you. Here, too, hair is shaken to the rhythm of the music, beers are drunk and lighters are lit into the evening sky. Once or twice a month, DBC Radio/TV even broadcasts the concerts online for everyone to see. This has been made possible by the artist placement agency Mediaculture and the Second Life specialists from Pedro Mey Marty. Communications support is provided by the Complecta agency from Eastern Switzerland.
Who knows, maybe the artificial boards will become important one day. For the time being, we still prefer the Eulachhalle. Real rock'n'roll.

Television The market launch of Philips' Aurea calls for new ways of advertising TV sets. 
With Aurea, Philips presents a new dimension in innovative Ambilight technology. The Aurea TV set impressively brings light and color to life and allows viewers to immerse themselves in the emotional experience that Ambilight creates. Philips is convinced that "Aurea marks the beginning of a new era in the way we watch television".  
This is also reflected in the international campaign that DDB London has designed for more than 25 countries from Spain to Ukraine. In Switzerland, the adaptation is being managed by Carat Switzerland.
 
The new Aurea from Philips "seduces the senses and combines the rational world of technology with emotions, luxury and a touch of longing," says Raphael Wermuth from Corporate Communications at Philips Switzerland, explaining the concept.
 
Philips invested around 50 million euros in the "Seduction through light" campaign. The Aurea was to be shown in all its beauty, the design of which was inspired by the special use of light in the world of film and fashion. To this end, photographer Vincent Peters and Alber Elbaz, head designer for Lanvin, and Parisian jewelry designer Lorenz Baumer worked with film director Wong Kar Wai to create a campaign whose central motif is the seduction of the senses through light.
 
Fashion photographer Vincent Peters is famous for his pictures for Vogue, which have been taken for a number of well-known fashion brands. His photos for Aurea also clearly bear this signature. Light is used as a seductive compositional tool. "It is the light itself that creates an emotional connection to what you see. Light is always there, but nobody thinks about it or perceives it in any way. Light has a key function: It draws the viewer into the picture," says Peters. In addition to the Philips Aurea, international top model Rianne Ten Haken plays a leading role in the photos.
 
For the campaign, Philips also worked with the fashion label House of Lanvin in Paris to underline the claim of an unconventional, emotional and impressive, but also fashion-conscious campaign. The clothing used was designed by Alber Elbaz for Lanvin. He is celebrated internationally as one of the most innovative fashion designers. "Time magazine included him in its list of the 100 most influential people in the world this year," says Philips proudly of its new ambassador. From September 2007, Aurea will also be presented in Lanvin boutiques to emphasize the ambience of the exclusive stores with its special interplay of color and light.
 
The creativity of Parisian jewelry designer Lorenz Baumer was also incorporated into the campaign. His trademark is unmistakable, seductive creations. This is why Baumer designed the jewelry for the campaign. Having experienced Aurea himself, he says: "Aurea is a symbol of innovation, something that all creators strive arduously for. As soon as you start to see something on the screen, you are completely immersed in what is happening."
 
To create an experience that is sensual and beyond all previously known viewing habits, Philips finally collaborated with film director Wong Kar Wai. His short film for Aurea is also inspired by the idea of "seduction through light". The work celebrated its premiere in August at the International Consumer Electronics Fair in Berlin.
 
The campaign never mentions technology. The television is presented as a lifestyle icon. The campaign is aimed primarily at women - and is therefore placed in women's magazines. The exclusive print campaign was published in the September editions of Vogue in the UK, France, Germany, Italy and Russia. In Switzerland, it will appear in Bolero and SI Style, among others.
 
Andreas Panzeri

The Aarau agency Gutzwiller Kommunikation und Design is delivering the campaign for the Home Expo show home exhibition in Suhr under the slogan "You've never found so much house". The campaign focuses on a giant woman and a giant man. In addition to a visitor brochure, the opening campaign includes an opening flyer, advertisements, a radio spot and signage for houses and grounds, including a large poster.

Möbel I Unikat shows how you can prepare for the next winter with Ikea. 
The days of garden parties are over and people are once again turning to cocooning in the warmth of their homes. This means that Ikea's 2007/08 news campaign, which is set to run in various waves, is also entering its second round. In August, the Unikat agency launched the campaign with the summer news. Since this week, some of Ikea's 600 winter novelties have been presented throughout Switzerland. Using posters, megaposters, e-boards in train stations and banners, Unikat is drawing attention to the fact that new items have arrived at the Swedish furniture store. This multi-layered presentation was conceived and realized with a total of 15 different poster motifs.  
Ikea novelties wherever you look! Mediacom and Séverine Hörler have put up several thousand F12, F200 and GF posters for Switzerland's largest public catalog. Megaposters at hot spots in Zurich, St. Gallen, Lucerne, Geneva and Lugano have also been added. It goes without saying for Unikat and its CD Daniel Meier that the new products are also presented on huge façade posters and parking lot posters at furniture stores.
 
Andreas Panzeri

 The Zurich-based web and communications agency Future Connection has won the Swiss Anorexia Nervosa Foundation as a new client. The newly established foundation aims to promote scientific research in Switzerland and abroad. It will also serve as an information platform for sufferers and their families. The foundation's website and presence will be designed to appeal to both sufferers and medical professionals. Further marketing measures, which will also be implemented by Future Connection, are also intended to increase awareness of the foundation.  
Responsible at Future Connection:
Nadine Straumann (project management) and Valérie Wirz (design).

The luxury watch company Montres Breguet may not appear on TV sponsorship with the addition "Depuis 1775", as reported by SDA. According to the Federal Administrative Court, this part of the logo violates the legal ban on advertising for TV sponsorship. This confirms a ruling by the Federal Office of Communications (Bakom).
The Swatch subsidiary from L'Abbaye in the canton of Vaud has already appeared several times as a sponsor of the TV broadcast of the "Concours de musique de Genève". On each occasion, it was identified with the Montres Breguet - Depuis 1775 logo. In 2006, the company also wanted to sponsor the broadcast of the "Finale Piano" on TSR 2. However, the SRG subsidiary Publisuisse rejected the sponsorship nomination. Bakom later confirmed Publisuisse's view that the addition violated the legal ban on advertising for TV sponsorship.
 
According to SDA, the company lodged an appeal with the Federal Administrative Court, but this was rejected. The decision can now be appealed to the Federal Supreme Court.

The free newspapers .ch and Le Matin Bleu, as well as Partyguide.ch, are the media partners of MobileAct Unsigned. The casting show is Pro7 Switzerland’s first major original program. Starting October 29, up-and-coming bands will perform their own original songs. The winner will receive a single production, a music video shoot, and performances at several concerts and events. MobileAct Unsigned is produced in cooperation with Sony Ericsson and OrangeMusic.
 

 "Better impact through better quality": this is no longer just the credo of advertising creatives, but a topic for all market partners. The annual magazine of the Swiss Art Directors Club (ADC) aims to emphasize this openness in terms of content.  
As every year, the outstanding advertising of the previous year is honored at the end of January. This takes place on the occasion of a gala, for which an ADC magazine is published in keeping with a long-standing tradition. This year, the magazine is closely based on the Nebelspalter and is therefore called Werbespalter. According to the ADC, this Werbespalter is intended to deliver what the name promises: little navel-gazing, but all the more all-round coverage. The editorial articles for the Werbespalter will no longer be written by leading Swiss creatives as before, but also by journalists and marketing experts. Furthermore, for the first time, Werbespalter will have an editor-in-chief (Roy Spring) and an editor (Daniel Krieg) as well as the editorial team of Nebelspalter. The magazine is published by Engeli & Partner, the publisher of Nebelspalter.
 
The first 500 copies of Werbespalter will be distributed to the guests present on the evening of the ADC Festival. An additional 12,000 copies will be sent to the members of ADC Switzerland and ADC*Europe. The advertising folder will also be enclosed with WerbeWoche and Persönlich.