In the first quarter of 2000, both SF 1 and SF 2 lost market share. For SF 1, the loss in prime time compared to the same period the previous year was one percent, bringing the share to 35.5 percent; for SF 2, the loss was 1.1 percentage points, bringing the share to 6.2 percent. SF DRS attributes the decline to increased public interest due to the events of the previous year: The beginning of 1999 was marked by avalanches and floods, the NATO intervention in Kosovo, and the broadcast of the Alpine World Ski Championships in Vail. Tele 24 remained steady at 2.5 percent during prime time. TV 3 also reached 2.5 percent. Among the German-language foreign channels, the only ones to show positive growth were RTL 2 (+1.1% to 3.7%), Kabel 1 (+0.8% to 2.4%), and ORF 1 (+0.4% to 3.7%). Among the losers were Pro 7 (–1.3% to 4.7%), Sat 1 (–0.4% to 4.8%), and ARD (–0.4% to 5.6%). RTL managed to stay above last year’s result. Branding by coin toss. Unique, Unaxis, Atraxis: Many corporate identity agencies have recently racked their brains over new names for Swiss companies. Often with controversial results. The oil giants Chevron and Phillips Petroleum took a simpler approach. To decide whether their joint chemicals business should be called Chevron-Phillips or Phillips-Chevron, they agreed to flip a coin. A special gold coin featuring both options was minted for the toss. CI consultant Fortuna preferred Chevron-Phillips.
Vivian com.mt. In September, Burda subsidiary vivian.com Publishing—a new hybrid of a news magazine, women’s magazine, and online magazine—will launch as a print publication and a new website. To this end, Vivian is launching the website www.vivian.com. The print edition will be published every Monday with a paid circulation of 130,000 copies, as guaranteed to advertisers. Vivian is launching as a cross-media print and online brand that positions itself independently among women’s, news, and online magazines. Its target audience is the “Infonet generation”: women who are developing new ways to balance work and family and who are creating their own networks and media platforms.
Schaffhausen TV wants to expand to Winterthur. To raise its profile beyond the canton’s borders, the Geneva-based advertising agency ABC Publi Conseil takes a chance: As part of a multi-part mailing, the BSW agency sent out a politically controversial image: Inspired by a visual of a peperoncini featuring the Swiss cross, the Geneva-based advertisers came up with the question «Neutre?»—which they answer with «Jamais!» on the back. As you read on, you realize: The subject doesn’t refer to Switzerland’s political situation at all, but rather to the agency’s philosophy. According to the ad copy, in order to discover the extraordinary—which constitutes the added value of communication—it is essential to refrain entirely from neutral statements.
SW Establishes Parliamentary Group. Swiss Advertising (SW), the umbrella organization for commercial communication, has established a parliamentary group to better represent the interests of the communications industry in the political arena. Carlo Schmid (CVP), president of SW and president of the Council of States, will chair the group. Sixty-eight members of parliament from both chambers have already signed up.
Schaffhausen TV wants to move to Winterthur. After the Leuenberger Department granted coverage area expansions last week to the Eastern Swiss broadcasters Tele Top, TeleOstschweiz, and TeleSüdostschweiz (see page 22), Schaffhauser TV now also wants to expand its broadcast area to include Winterthur. The board of directors has decided to prepare a corresponding application and submit it to the Federal Office of Communications, said Norbert Neininger, delegate of the board of directors, when asked. With the new DETEC decision, a monopoly situation now exists only in Winterthur.
Identical implementations. Two campaigns are currently running for the two websites www.mcmedicine.ch and www.plancal.ch, and they are more alike than they are different. The former positions the site as a health center for questions of all kinds, while the latter presents Plancal as a leading provider of construction industry software. The websites were created by the two Zurich-based agencies Wirz and Lesch+Frei. The creative quality of both sites suggests that they were developed using a so-called “quick-and-dirty” approach. That is likely why no dispute will arise over who came up with the idea and who copied it.
Swisspool: No changes. According to the new audited circulation figures, Swisspool has once again seen a decline in circulation. Swisspool I (Tages-Anzeiger, Berner Zeitung, Basler Zeitung, Neue Luzerner Zeitung, St. Galler Tagblatt) fell from 781,309 copies last year to 775,105 copies (down 0.79 percent), while Swisspool II, thanks to increases at 24Heures and Tribune de Genève, fell only from 947,125 copies to 943,128 copies (down 0.42 percent). However, according to Edi Battaglia of the Swisspool clearinghouse, this will not result in any changes to the pool rates. An adjustment may be possible as of 2001, however, when the circulation of the Berner Zeitung is set to increase by just under 40,000 copies in the middle of this year thanks to the merger in the Oberland (WW 13/00).
More complaints than ever before before the Press Council. In 1999, the Press Council had more work than ever before: A total of 39 new complaints were received, and 18 cases were still pending by the end of the year. Twenty-three cases prompted a statement. This time, only the print media were affected. The main issues were violations of privacy, as well as unfair conduct and unjustified accusations by the media.
RTL/PRO 7 Switzerland: Social Plan Finalized. The board of directors and the former staff of RTL/PRO 7’s failed Swiss division have agreed on a social plan. The controversial provision stipulating that a laid-off employee who finds a new job within the notice period would have to return a quarter of the salary paid during that period has been dropped. The Comedia union expressed dissatisfaction, stating that policymakers must safeguard employees’ positions in the future by imposing conditions on broadcasting licenses.
Editorial
Cézanne Builds Customer Loyalty The debate in the late 1980s was heated and ideologically charged. An outcry swept the nation when the major banks began sponsoring music in 1987. Art was degenerating into a lubricant for capitalist industrial society, the arts pages murmured somberly. Sponsorship, it was argued, reduced art to its marketability—that is, to its non-aesthetic utilitarian value: as an attraction at a tourist fairground, as a trail of glue to lure taxpayers and businesses, or even as a tranquilizer for rebellious minorities.
In the meantime, a sense of level-headedness has set in, and discussions are now more objective. Cultural sponsorship has also become established in our part of the world and is now recognized as a distinct form of communication. A code of rights and obligations has emerged between artists and companies; sponsors and sponsored parties work together to convey value and satisfaction to shared target audiences. The sponsored party secures funding, in-kind contributions, or expertise, and the sponsor expects, in return—by appealing to consumers on an emotional level—a positive impact on its image. This arrangement requires a great deal of tact from both partners. Elisa Bortoluzzi Dubach is a pioneer in this field. She organizes lecture series on this topic at universities and publishes non-fiction books. In an interview on page 33, she discusses the new form of patronage in cultural sponsorship.
Around the world, the business world is facing unprecedented competition and a pace of innovation unlike any other. Depending on the situation, companies adorn themselves with contemporary art—such as Winterthur Insurance with John Armleder’s «Liberty Domes» —as an expression of its dynamism—or it focuses on preserving tradition as a form of compensation, as Credit Suisse does by sponsoring a Cézanne exhibition at the Kunsthaus Zürich that had already been shown in Vienna to great acclaim. In any case, it all serves to enhance the company’s image.
Oscar Wilde summed it up long before our time: «When bankers get together, they talk about art. When artists get together, they talk about money.» Samuel Helbling