Advertising freeze In response to an article about the Swiss cigarette lobby, Philip Morris has removed two already
canceled advertisements booked in the news magazine Facts. However, the tobacco company does not want this to be understood as a boycott.
Advertising boycotts are not only a powerful tool, they are also extremely rare. It has been more than twenty years since the ominous term last made official headlines in media circles (see box). This made a note in the Tages-Anzeiger last Friday, prominently placed on the front page of the Wirtschaftsbund, all the more surprising. It literally read: "In response to an article about the cigarette industry, the tobacco company Philip Morris has imposed an advertising boycott on the news magazine Facts." To back up the statement, it was added that this had been confirmed by a spokesperson for the tobacco company in question.
However, when asked by Werbewoche, Philip Morris did not want to know anything about a boycott or an attempt at discipline. "The term boycott is wrong. We have only decided to postpone the planned advertising placements in this magazine until further notice," explained Raymond Pantet, press spokesman for Philip Morris. However, the postponement is not to be understood as a punitive action; it is solely due to technical advertising aspects. "By using one of our brands in an unauthorized and negative way for the front page and by including factual inaccuracies in the reporting, Facts has created an environment that is unfavorable for the promotion of our products."
In principle, Facts remains an interesting title for Philip Morris, according to Pantet. However, he did not want to specify how long the advertising break in the news magazine would last.
Conciliatory tones
The two other tobacco companies explicitly mentioned in the article in question are similarly conciliatory. "Even if we are not satisfied with an article, we naturally respect the freedom of the press," emphasizes British American Tobacco media spokesman Claudio Rollini. Instead of stopping advertising orders, the company seeks dialog with the editors in question. "We hope that Facts is now open to a discussion so that we can make our opinion and our policy clear."
JT International also relies on dialog rather than punitive measures. "We are not reacting because of a critical article," explains Jacqueline Erb, press spokesperson for the tobacco company. She also emphasizes that the Facts story will have no influence on the future advertising strategy.
The fact remains: None of the three tobacco companies in question is demanding a correction or even a counterstatement to the published article. There are no reasons for this, explains Tamedia spokeswoman Eta Pavlovic. Like many other articles, this one was also checked by Tamedia's legal service before publication. "There are no untruths or speculations in this text," says Pavlovic. And she adds: "It doesn't even contain anything really new. After all, the study mentioned on the subject of passive smoking has already been discussed by other media." Furthermore, the company had ensured in advance that the use of elements from the Marlboro and Marylong packs would not infringe any trademark rights.
Counterproductive approach?
The current case will be discussed in Tamedia's editorial offices. "But we certainly won't be intimidated. Because then we would no longer be able to fulfill our task - critical reporting," explains Pavlovic.
For Jürg Siegrist, Managing Director of the Swiss Advertisers' Association (SWA), the fact that editorial freedom must not be infringed is paramount. However, he shakes his head at the Tages-
Anzeiger note that publicized the alleged boycott. "In view of the fact that many advertisements are now being canceled or postponed by media agencies, I don't understand why the matter was published so prominently in the Wirtschaftsbund. Especially as it is not a boycott. This advance could be counterproductive."
Boycotts are rareThe last major advertising boycott was over twenty years ago: from 1979 to 1999, the Emil Frey Group boycotted the Tages-Anzeiger in response to a critical article in the magazine on the subject of "The Swiss car lobby". Negotiations between the TA management and the Emil Frey Group did not take place until the end of the 1990s. The two parties came to an agreement,
to stop using the term boycott. Instead, the Tages-Anzeiger certified in the columns of the business section that the car dealer had merely "made use of the freedom of an advertiser,
to do without a suitable advertising medium".
Nowadays, threats of boycotts are no longer usually made openly. Pragmatic solutions are preferred - which in the vast majority of cases are not made public. "I can well imagine that the one or other advertiser will occasionally
is once again annoyed by what has been published - and then at the
advertising simply takes a break without making a big deal of it. But then we don't find out," explains Jürg Siegrist,
Managing Director of the Swiss Advertising Client Association. (dse)
Daniel Schifferle

Candy market Doetsch Grether wants to get its own brand Grether's Pastilles back on everyone's lips with an FCBLK campaign. With Coop
the Basel-based company has also opened up a new distribution channel.
Blackcurrant, glycerine and agar agar: these are the ingredients of Grether's Pastilles, which until recently were only available in drugstores and pharmacies. At the beginning of November, the manufacturer Doetsch Grether AG (DG) entered into a new distribution partnership with Coop and introduced a 60-gram tin for retailers. These changes are reason enough for the Basel-based family business to reinforce its product at the pull level of communication. A new advertising campaign from FCB Leutenegger Krüll (FCBLK) aims to get the pastilles on everyone's lips. "The aim is to increase awareness of Grether's Pastilles and make it one of the top five best-known sweets brands," says Christoph Bögli, FCBLK consultant, explaining the ambitious goal. Those responsible not only want to measure Pastilles against its peers, but also to double its awareness within the entire sweets market. Advertising spend in the first nine months amounted to around CHF 3.5 million in this sector. Fisherman's Friend, Läkerol, Ricola and Tic Tac were the most active in the Swiss market.
Grether's Pastilles were originally produced by the British company Allen & Hanburys Ltd. according to a recipe from the 18th century. When production was discontinued in the early 1970s for financial reasons, the Basel-based wholesale company Doetsch Grether acquired the manufacturing license for the pastilles. DG had been responsible for the distribution of the product in Switzerland since 1930. With the relocation of the production facility from England to Switzerland, nothing changed apart from the name - Allenbury's became Grether's Pastilles: to this day, the product is still made by hand according to the original recipe using selected ingredients.
The Kerativ team led by CD Mike Krüll was also committed to the origin. The implementation was to visually incorporate and emphasize the origin of the neck pastille. With the butler Ernest and his lord, the creative team created two characters to identify with. Inspired by the exchange of blows between the two comedians Walther Matthau and Jack Lemmon in "An Odd Couple", the protagonists engage in verbal battles in a very British setting - which always revolve around Grether's Pastilles. The result is basically "printed films", remarks Mike Krüll not without pride.
Running gag porcelain dog
Photographer David Stewart - himself of British origin - also contributed to this, capturing the scenes on celluloid with great attention to detail. For example, the viewer will find the porcelain dog in each of the four subjects. According to Krüll, the aim was to emphasize the English, but with a touch of humour. In addition to the origin, the advertisements also want to recall the elaborate production of the cassis pastilles. They are still produced in batches - and are therefore more expensive than their mass-produced counterparts.
By opening up the distribution channel, the aim is to break through the growth barriers and increase sales of Grether's Pastilles. It is not surprising that this innovation has not been well received by the specialist trade. Nevertheless, consultant Bögli is convinced that the "enormous media pressure" will also increase sales in the specialist stores.
Doetsch Grether AGThe family business Doetsch Grether (DG) goes back to a pharmacy opened in Basel in 1899. In the following years
it was expanded into a wholesale company for pharmaceutical and cosmetic products under the direction of the Grether family. This was later followed by distribution orders, and DG has also been a production facility since the early 1960s. In 1975, Esther Grether-Kast became his successor
of her late husband Hans Grether, second-generation owner. The sole shareholder of DG is also Chairman of the Board of Directors of Beiersdorf Switzerland, half of which is owned by her and half by the German
Group. Grether also sits on the Board of Directors of Swatch
Group and, with a share of around seven percent, is the second largest
individual shareholder. In addition to Beiersdorf products, DG produces the
own brands Fenjal, Dikla, Crest condoms, Grether's Pastilles and
Sulgan. Last year, the family business achieved a turnover of around 103 million Swiss francs. (sk)
"Printed films": ads for Grether's from the candy kitchen of FCB Leutenegger Krüll.
Simone Keller

Gastro I Matter & Partner is pleased to be able to advertise Più, Urs and Helen Strozzega's restaurant in the atrium of Credit Suisse on Paradeplatz, and to avoid confusion with the established Zurich snack bar "Strozzi's" in future, "Strozzi's Più" will now become "Più" for short. The agency is accompanying the name change with a modified corporate design. For the relaunch of the restaurant, the agency staged an advertising campaign in which trendy people enjoy themselves in the restaurant. The fashion editorial-style photos aim to prove that "Più" mixes "the best drinks in town" and that the Mediterranean-Asian cuisine tempts diners to indulge their taste buds.gastronomy At the Più restaurant on Paradeplatz, even the most languorous declaration of love does not satisfy hunger. >> p. 2

Job portal The job platform Jobpilot.ch and Swiss-Science.org, the Swiss portal for science and innovation, have agreed to cooperate in launching the online job market Sciencejobs.ch. The homepage will be used to advertise senior positions in
research and science with a primarily academic profile.

Just like the Egon, the Oscars and the Felix, the Edi - the awards for Swiss commissioned and commercial films under the auspices of the FDHA - are presented every year, and last week the awards ceremony took place on the big stage at the Schiffbau. For example, Melanie Auerbach and Beat Mühlemann. The latter was Melanie's first boss and made it possible for her to enter the advertising industry.
Franziska Graf told everyone who wanted to hear that she will soon be jetting off on vacation to Bali for a few weeks. You should be a freelancer. That's what she is for Regardez Communications, among others. Franziska became aware of Regardez at the last Egon Awards for Advertiser of the Year, which produced a James Bond spoof featuring the nominees for Advertising Week. The film was awarded two Edi (overall impression and music) in the clips and trailers category. A big thank you to the jury! And to Danielle Lanz, Markus Ruf and André Benker. They also took part in the commercial thriller alongside the nominees.
Why Martin Fueter always refers to Lea Rindlisbacher as his illegitimate daughter-in-law has puzzled some people. The solution: Fueter's granddaughter Laura is a joint production by Lea and Martin's son Michael Fueter, who incidentally won a director's Edi for the Feldschlösschen commercial series.and nepotism at the Edi awards is when one federal authority awards another. The commissioned film "Virtual Reality" from the Army Film Service, Department of DDPS, with borrowings from "Rambo" and "Terminator", won an Edi for post-production. However, this was carried out by the company Central Pictures.
For once, Beat Fritsch stood behind a camera that captures moving images at the Edi 03 award ceremony - the Swiss contract and advertising film prize. The Swissfilm Association and the Swiss Federal
The Federal Department of Home Affairs (FDHA) awards this prize in various categories to filmmakers from our country. Advertising Week was not left empty-handed. We find out where the communication, media and publishing industries meet at the various events of the scene. Do you already have something to report? Pick up the phone (01 296 97 98) or get in touch (info@werbewoche .ch). Event tips and further shortlist images are available online at www.werbewoche.ch.
Now it's set in stone - Advertising Week won two Edi thanks to Egon.
Two Edi for the advertising week: Manuel Messerli, Bart Wasem and Jürg Steudler (from left to right), the Regardez Communications directing team.
Also on board with Regardez: Dany Bittel (l.), 3D composer, graphic designer Neil Stubbings and freelancer Franziska Graf.
Daniel Weissbaum (l.), member of the management board at Christinger, with Melanie Auerbach from Wirz and Migros advertising manager Beat Mühlemann.
Martin Fueter affectionately calls Lea Rindlisbacher from Eqal Visual Productions "my illegitimate daughter-in-law".
The army received Edi honors thanks to its film service: Urs Schärer (l.) and Marc Meister gladly accepted the award.
Thanks to Feldschlösschen commercials, SFLB boss Martin Spillmann, here with Daniela Berther, TV producer, was also delighted to receive an Edi.
Silke Heinzelmann (center) from Futurecom unites telecom ladies: Daniela Schönholzer (left), Sunrise, and Nicole Kocsis-Keller, Orange.
This is what winners look like: Markus Ruf with customers Susan Huber (l.) and Edith Müller, Suva - Camera-Edi for a Ruf-Lanz concept.
Where there's a movie, there's usually a Cinecom delegation nearby: Rosa Mattia, Nicole Steinegger and Tamara Bühlmann (from left).
Lilian Brunner from the advertising agency Knaus+Knaus with friend Stephan Hägeli from corporate fashion provider Al Ferrano.
Meeting of the creative directors: Paolo Tonti (l.) from Contexta discussed with his colleague Thomas Lüber from Lesch+Frei at the aperitif.
Also seen in the crowded foyer of the Schiffbau: Holcim Marketing Manager Angela Wiechula and Marco Lehner.
Director legend Ernst Wirz with Teleciné operator Roger Sommer from Treibhaus and Rudi Haller (from left), H273 Hallerfilm.
SFLB co-owner Peter Felser, Roger Renfer, Head of Advertising at Swisscom Fixnet, and Dani Hartmann (from left), Managing Director of Contexta.
Good mood despite the absence of Edi: Futurecom team with Andreas Widmer, Christian Erni and Roger Rüegger (from left).

Regional newspapers The ten regional editions of the Aargauer Zeitung (AZ) will definitely be published in tabloid format from spring 2004.regional newspapers The ten regional editions of the Aargauer Zeitung (AZ) will definitely be published in tabloid format from spring 2004. In the Saturday edition of the AZ, the publisher publicly announced the change, which had been the subject of speculation for some time. The new format enables regional editions, which are produced by their own editorial teams according to the "newspaper within a newspaper" principle, to have a concise, clear structure and layout. Peter Buri, Editor-in-Chief Aargau/Regions, told the news agency SDA that the local sections, which until now have been separate bundles attached to the mantle edition, would be given more weight and independence.

The Chur-based advertising agency Trimarca is responsible for the brand positioning and communication of the new wellness and spa complex in St.Moritz,The Chur-based advertising agency Trimarca is responsible for the brand positioning and communication of the new wellness and spa complex in St.Moritz, consisting of the already completed five-star Kempinski hotel, the medical health center and a modern sports and wellness center, which is being built on the site of the current St.Moritz Bad indoor swimming pool. The budget for the center was awarded to Trimarca in the summer of
received. The corporate design and communication measures will be presented to the St. Moritz public in November.

Samuel Helbling on the new advertising market study by the Media Research GroupThe cobbler's children walk barefoot. This phrase comes to mind when talking about classic self-promotion by agencies. Many agencies avoid this in-house task by arguing that advertising for their clients is also the best form of self-promotion. The reason often given for this communicative abstinence on their own behalf is consideration for clients, who would not like to see service providers putting themselves in the limelight too much.
prizes. There is no other industry that awards itself so many trophies.
Advertising clients are more sober and reserved. They know that advertising must first and foremost sell and is not an art for art's sake. They have no ear for phantom advertising and are suspicious of the advertising industry's self-congratulation.
They know that the bill will ultimately be paid with their money.
So what could be more obvious than to ask the communication managers in the companies directly how satisfied they are with the agencies' services. On the initiative of the Media Research Group Zurich, the 500 largest advertising clients assessed the 20 largest Swiss agencies in terms of quality. They commented on creativity, strategy, consulting and their overall impression.
One pleasing result to start with: the agencies achieved the best average score for their creative services. This can be seen as an indication that the agencies are not as bad in their core competence as is often criticized. At the same time, the clients' assessment of creativity was significantly less homogeneous than that of the other areas. The best score is 70 percent above
the worst. Creativity is therefore still the differentiating factor for agencies. Werbewoche reports exclusively on the new advertising market study on pages 9 and 10.
> Samuel Helbling, Editor-in-Chief

Banks Life sometimes writes the most amusing stories. But that's not enough for every advertiser. What could be more boring than a horse breeder on a horse? In cases like this, the creative artist helps reality along, which often means back-breaking work for the shoot. Cunning photographers know how to alleviate the strain on those involved: They joke their way into a champagne mood. In the golden eighties, people sometimes resorted to intoxicating aids, but in times of crisis like these, cheaper tricks such as gymnastic exercises from primary school are sufficient. The creators of a motif from the current CS campaign appear to have used such a test of male dexterity. In the testimonial, the famous horse breeder Ursula Friedli gallops around on her magnificent two-legged friend "Fury". The viewer also learns that she and "Fury", alias Markus Wyss, have been relying on the expertise of the major Zurich bank for over 20 years. A wise choice. Provided that the bankers are as professional in their investment strategies as Ms. Friedli. You can assume that they do. As the saying goes among horse lovers: the apple doesn't fall far from the horse.
(la)

Gastro II The curves of their models have not only inspired nude painters as artists. Fritz Weyrich recently proved that even masters of still life can be swayed by the charms of their models, and in his attempt to emulate Paul Cézanne, the painter allowed himself to be seduced by his models. Instead of refilling the fruit bowl after satisfying his cravings, the painter painted the "Bütschgis" onto the canvas at the same time. The result is also a poster motif for the vegetarian restaurant Hiltl. The painter was kissed by the Wirz agency's team of artists under CD Matthias Freuler's guidance. It goes without saying that Weyrich's original has been given a place of honor in the "Wurzelbunker", as the people of Zurich affectionately call the "Hiltl".

Column Well-dosed and well-placed infusions are needed to save ailing newspaper houses from the intensive care unit. And if taxpayers' money is to flow into this, then it should go towards the training and further education of editorial teams and publishers.
In the wonderful economic boom of 2000, newspapers in Germany earned around 1.7 billion euros from job advertisements alone. In an average year, this figure used to be around 1.3 billion euros. The latest research shows: These revenues are likely to be reduced by 600 to 700 million euros annually in an average labor market. This corresponds to around 10 to 15 percent of advertising revenue, but that's not all. A Delphi survey conducted by our institute predicts that daily newspapers will lose 5 percent of their circulation in the next four years and as much as 10 percent in the next eight years, based on today's figures. At the same time, the time readers devote to their newspapers will shrink by 10 percent by 2007 and by 15 percent by 2011. Young people in particular no longer consider it essential to look at a newspaper every day.
The current crisis means that the proportion of fixed costs is increasing, especially for regional newspapers. You have to seriously ask yourself whether publishers who only publish one newspaper can survive economically under the current conditions. The red pencil alone is no longer enough to overcome this misery. Many papers have long been in a situation where measures such as laying off five journalists, cutting travel expenses or canceling orders for competing papers no longer help in the slightest. The stores have been squeezed dry; an empty lemon is an empty lemon. So many publishers have no choice but to rely on cooperation with the next biggest competitor, whether this is of a technical, administrative or financial nature.
Swiss politicians are currently discussing press subsidies from the state as a countermeasure. A subgroup of the National Council's State Policy Committee under Andreas Gross (SP) recently proposed using the approximately CHF 100 million spent annually to reduce postal taxes on newspaper delivery to support secondary newspapers. Is this a sensible approach?
The establishment of competing newspapers in monopoly districts cannot be managed with these resources. This is shown by the example of St.Gallen, where Ostschweiz disappeared a few years ago. Since then, the St.Galler Tagblatt, which belongs to the NZZ Group, has enjoyed a unique position. A revival of Eastern Switzerland, which would require risk-taking publishers, is hardly realistic. Incidentally, this is also because the current placeholder is an open, by no means one-sided paper. Any counter-foundation would be costly and threatened with failure.
Supporting existing but ailing secondary newspapers seems more realistic. Either way, however, political intervention in the market would be necessary, which - with such limited resources - would of course quickly expose itself to accusations of arbitrariness. In view of Switzerland's political culture, there would be no immediate cries of "censorship", but heated debates would be inevitable here too, and support measures that do not require complicated selection decisions by state or quasi-state agencies, such as generous support for publishing training and further education measures, would be less objectionable in terms of regulatory policy. Even the idea of imposing certain conditions on monopoly newspapers, such as editorial statutes or foundation structures, would probably be less problematic than the state-controlled creation of artificial competition. Nevertheless, the Gross Commission has tackled a hot potato. We should be grateful for that. How the iron should be forged, however, requires further discussion.
Peter Glotz on the bloodletting of the press and alternatives to subsidyitis.
> Peter Glotz is an author and Professor of Media and Communication Management at the University of St.Gallen.

Wemf From 2005, new circulation regulations will ensure greater transparency. The second most important currency in the print media sector, circulation figures, are not "hard" in Switzerland. This is because the circulation regulations of the AG für Werbemedienforschung (Wemf) give publishing house managers a lot of leeway. The certified circulation must actually exist, but the actual circulation does not have to be reported. For example, a maximum of five percent of the certified "paid circulation" can consist of free subscriptions. In other words, two titles with the same certified circulation do not necessarily have the same subscription structure. It is also not clear whether a publisher also regularly distributes or sends out additional free copies.
According to the regulations, publishers of sold titles are free to decide whether or not they want to indicate an additional free print run. Most of them do not. There is a possible calculation behind this: the lower the print run, the higher the number of readers per reported copy.
However, not only the free copies, but also the sold and subscribed copies can be deep-stacked at will. This is often used for new launches or mergers and is also recommended by Wemf. The idea behind this is that it is more beneficial to the image of the title to show lower figures at the beginning and then rising figures year after year than a brilliant start with a subsequent drop in circulation.
However, the cheating on circulation figures with the blessing of the circulation regulations should soon come to an end. This is because Wemf's Circulation and Distribution Commission has revised the regulations in recent weeks. Publishers, associations, advertisers, media planners and advertising clients have been given the opportunity to comment on the draft until November 30. If it is approved without major changes, the new regulations will come into force on January 1, 2004 and will be applied for the first time in the 2005 circulation certification (basis 2004).
Above all, the proposed regulation will introduce a completely new value. "It will be a similar cut to when we switched from the K1 to the LpA value for the Mach Basic," says Wemf Director René Schmutz. "The new values will no longer be comparable with the previous ones."
The main change: In future, Wemf will uniformly certify the "actually distributed circulation" (TVA) for both free and retail titles. This now includes all copies sold as well as all free copies regularly sent or distributed
(= free circulation). The draft regulations also state that publishers must in future "report all copies actually distributed".
The number of copies sold is now also divided into three categories: Copies that are sold at full subscription or single copy price, secondly those that are discounted by a maximum of 50 percent, and thirdly those that are discounted by more than 50 percent (but not free). Trial subscriptions fall into the second category. For the first time, new subscription options such as e-paper or print on demand are also taken into account, whereby a subscription invoice including a password list must be submitted for e-paper for verification.
No "indecent" conditions
There is another significant change with regard to the free circulation of titles that want to be considered "sold": A maximum of 25 percent of their TVA may consist of free subscriptions. One exception is large print runs, which will continue to be shown as a separate free title. "The visual appearance is changing: free editions are no longer 'indecent', but simply a form of distribution," says Schmutz.
In future, the TVA and the individual circulation components will be published individually in the circulation bulletin. They must also be listed in the tariff documentation. However, it is up to the individual title whether it publishes the TVA or just one category of it in its masthead or advertising. "The new circulation categories open up a new field of competition for publishers," says Schmutz. Another consequence of this is that publishers will have to agree on whether they want to use the LpE value (readers per copy) in relation to the TVA or a sub-category in future.
The new regulation will have another effect: From 2005, the TVA will in most cases certify considerably higher circulation figures than today. However, this means that some publishing house managers run the risk of having their current circulation policy retroactively scrutinized. To avoid this, some publishers will therefore cushion the "circulation jump" of 2005 by adjusting their circulation as far as possible to future conditions at the next certification (based on 2003). For example, by no longer understating their paid circulation and/or by making full use of the five percent margin for free circulation. In short: circulation will not "increase" in 2005, but probably already next year.
"The new regulation brings significantly improved transparency," says Christel Plöger, Wemf's chief certifier. However, she expects that many of the first self-declarations using the new method will be incorrect. All the more so as, according to the draft regulations, the self-declarations must be submitted to Wemf by January 31. The values should then be available for publication from February 1.
This is why the regulations were changedIt is surprising that regulations that have been in force for years are radically changed within weeks. According to Christel Plöger, Wemf's head of circulation, various adjustments were obsolete, which now led to the rapid revision. She mentions Wemf's new press categories, the new e-paper and print-on-demand subscription options, the desire to bring forward the self-declaration deadline and the fact that no sanctions were previously listed. It is also said that Tamedia's new circulation policy provided the main impetus. Plöger comments: "That was
at most the last straw that broke the camel's back." (mk)
"Sold titles "Certified circulation to date "Sold circulation"
Retail sales (kiosk + vending machines)
Paid subscriptions in Germany
Paid trial subscriptions
Paid subscriptions abroad
Subscriptions for direct employees
Free subscriptions (max. 5% of the other circulation elements)*.
Certified edition new
"actually distributed circulation" (TVA)
Retail sales (kiosk + vending machines + print on demand)
Fully paid print subscriptions
E-paper subscriptions
Print subscriptions reduced by max. 50%
E-paper subscriptions
Print subscriptions reduced by more than 50%
(but not for free)
Subscriptions for direct employees
Free subscriptions* (max. 25% of TVA)
Source: Werbewoche/Wemf
* Including copies to non-direct employees, retirees, shareholders, freelancers, contractors, schools, retirement homes,
Hospitals and free subscriptions for advertisers, advertising agencies
and exchange copies.
The most important changes at a glanceFormer regulations
Self-declaration by March 31
Release from 1.4.
Wemf certifies the "sold title" for sold titles.
Circulation", for free titles the distributed or boxed circulation
A maximum of 5% of the "sold circulation" can consist of free subscriptions
Contractual penalties not mentioned
Previous press categories
New regulations
Self-declaration by January 31
Release from 1.2.
Wemf generally certifies the "actually distributed circulation" (TVA). For "sales titles", the TVA may be max.
25% consist of free subscriptions
The "paid circulation" is being redefined: it is a part
of the TVA and does not include any free subscriptions
New press categories
Regulation: Detailed requirement must be included in
E-paper and print on demand can be authenticated
Various new definitions
Wemf anticipates that most titles will achieve new circulation figures as early as 2004.
Markus Knöpfli