The compulsory measures court also rejected the request of the Neuchâtel prosecutor's office to unseal the journalist's documents seized during the house search. The documents must consequently be returned to the employee of the French-speaking Swiss daily Le Matin, the court announced Friday. The house searches at Rocchi took place in August 2013 in connection with a lawsuit filed by a professor at the University of Neuchâtel. The professor accused the journalist of defamation, slander and violation of official secrecy. Rocchi had uncovered allegations of plagiarism against the professor in Le Matin. An administrative investigation ordered by the government later confirmed partial plagiarism by omission as well as violations of citation rules.

The public prosecutor's office, which had ordered the house searches in Rocchi's apartment and in a hotel room booked by him in Locarno, went all the way to the Federal Supreme Court. They appealed against a decision of the Neuchâtel cantonal court, which had declared the house searches illegal. However, the Federal Supreme Court overturned the decision at the end of March and sent the file back to the compulsory measures court for a reassessment. According to a statement on Friday, the court has now also ruled that the house searches were illegal. The freedom of the press should have taken precedence over the need to investigate, the court said in justifying its decision. Subject to an appeal to the Federal Supreme Court, the public prosecutor's office must return the seized documents to the journalist without being allowed to unseal and evaluate them.

The Rocchi affair caused outrage in the media - the incident was seen as a threat to the freedom of the press. For the Neuchâtel prosecutor's office, however, these accusations were countered by another concern: the guarantee for authorities to be able to make their decisions without external pressure. (SDA)

Last week in Zurich, a jury of experts from the Swissfilm Association spent a day screening films and selecting the finalists for «The Young Director Award,» a competition for emerging filmmakers. This contest is currently held in 17 countries across Europe. It is organized by the CFP (Commercial Film Producers) association. The media partner is the trade magazine «Shots,» which reports globally on new developments in the advertising film industry. This year, 300 films were in the running. The same jury tool is used in all member countries. This tool allows entries to be viewed in various categories and rated directly within the system. The categories include «Animation,» «Broadcast,» «Charity,» «Music Video,» «Short Film,» «Video Art,» «Web Film,» as well as «Film School» and «Test Commercial.» As such a «test,» an advertising film can also be submitted for a purely fictional product. The Swiss jury is led by Rudi Haller. The head of Solid & Hallerfilm took over the role from Martin Fueter in 2007. Haller’s team, which includes producers and directors from the Swissfilm Association, is passionate about the competition, as new trends can always be discovered among up-and-coming talent from all over Europe. Participation from Switzerland, however, still leaves much to be desired. Although Rudi Haller is in contact with all Swiss film schools and our «old hands» are also promoting the competition among their young colleagues, there was no Swiss surprise to be found this year either. For the coming year, therefore, we aim to generate even more attention for the «Young Director Award» right here. «The opportunities are truly attractive,» Haller notes.

Young Role at Cannes

In Cannes, potential finalists from Switzerland could do more than just make interesting connections. The shortlist of works by the «Young Directors» will be presented to a jury of renowned filmmakers from across Europe. The jury may award up to three prizes per category. All award-winning films will be uploaded to the website www.youngdirectoraward.com, where they will reach an audience eager to discover new talent from all over the world. «This can turn out to be a valuable door-opener for the career of a new talent,» Rudi Haller is convinced. He regrets that this opportunity isn’t being seized more actively in Switzerland. In Germany, with its more than a dozen film schools, interest in supporting emerging talent is also much greater than in Switzerland. «I can only speculate about the reasons,» says Haller, for whom the «Young Director Award» will nevertheless remain a major priority. However, the competition is also facing a bit of headwind on the Mediterranean. There, the organizers of the «Cannes Lions» would prefer to integrate the «Young Directors» into their already overflowing portfolio of competitions and call the shots themselves in the future. But the representatives of the CFP want to protect their young talents from this growing appetite of the Lions for as long as possible. «We’re fighting for our competition,» says Haller, who is already looking forward to exciting visions and creative ideas in Cannes.

Andreas Panzeri

Rudi Haller chairs the jury for the «Young Director Award» in Switzerland and is committed to supporting up-and-coming local talent.

Here are stills from last year's winning film in the «Film School» category at Cannes. «Frenki» was produced at the Film Academy Baden-Württemberg.

 

These notes in imperative form are not intended to be a how-to kit for good advertising. They are merely meant to appeal to common sense in a casual way. So go on.

7th commandment: Never change a successful advertising concept. Unfortunately, such a commandment, which is so self-evident, is violated more often than one might think. All the big boss has to do is say, "We've seen enough of that advertising now, we need something new." And the sin is committed. Unless the agency has the courage to contradict the big boss. But there are examples like that, too. The milk cow "Lovely" even survived a change of agency.

8th commandment: Never price your product humorlessly. Successful advertising works through humor. The Nespresso appearance with Clooney would be clumsy if it didn't have this kick with "Nespresso - what else". The irony turns it into genius. Advertising for these mattresses from Jysk, where this woman trumpets out "I love Jysk" completely unbelievably, is a good example of humorlessness, as unfortunately quite a few others exist.

9th Commandment: Thou shalt not leave graphic design to amateurs. Since everyone can decide for himself or herself on the computer about font, size, weft, spacing, indents, "slim" to "bold", red or pink, the door is opened to the graphical design juggernaut. From countless websites to advertisements with high-priced insertion costs, more and more are being designed by amateurs. This is the beginning of the end of Swiss typographic art.

10th Commandment: Thou shalt not make unimaginative advertisements. Every day, thousands of pieces of information pelt us consumers. Most of it rolls off our perception and passes us by without being remembered. I estimate that over 90 percent is lost in my case. But it's not just because memory declines somewhat with age. My theory is: If you want to store a message in the brain of our target person and thus make it memorable, then a gap or mnemonic must be built into the advertising idea, which must be completed by our listener or viewer. Thus we are anchored with our statement in its memory. I would like to see the analogy to Moses 10 commandments not so seriously meant, therefore here still another additional commandment.

11th Commandment: You shall not be fearful, compromising, or discouraged. Advertising has to be a blast. Any soft patter is a sin.

My display is the FCB cake that we received from Vollenweider chocolatier for the championship title.

Theophil Butz, graphic designer, advertising agency owner, inspirer and, for the last three years, also mothballs for Werbewoche readers. Please send any relevant information to [email protected]

In my last article, I talked about snackable advertising content for mobile and social media campaigns: it is quick to consume, easy to share and quickly available. The changeover requires more agile teamwork and many new advertising recipes. Three of these were already featured in Advertising Week 07 from 18.04.2014: Adcompression - the fastest and most sustainable way to reach consumers on the social web is with concise short ad messages. Tweetability - short messages of 140 characters are the fastest way to get around the world. And newsjacking - we inject our own content with breaking news and reap virality in the social networks and PR coverage in the media. Appetite for more snackables?

Snack recipe gadgets:

Start your next search for ideas by looking for gadgets on Pinterest. That's where the snack ideas come pouring out of the cannon. Gadgets are objects and nothing seems more welcome in the social web community. Objects can be used, described, loved, disliked, photographed, filmed, bought, given away, recommended, lost, raffled, found again, auctioned, destroyed, put down, put up, put over and much more. Steve Jobs once said: "One is the objects and the other is the web." With the iPod, he brought the two together: digitized music from the web, organized via iTunes, and the iPod as an object that convinces with functionality and enchants with design. Jobs continues: "This is exciting, because it means the fulfillment of many dreams." What is meant here are not objects for dreams, but useful things for everyday tasks that delight, enrich, fulfill purposes and tell stories in an intelligent and creative way. Stories and purposes that create a crystal-clear connection to the core matter. The best gadgets are those that support the use of the advertised offer (product or service). Jobs on this in 1997: "It saddens me that many products lack insight and creativity."

Snack Recipe Hero:

The concept of heroic "product benefit dramatization" is celebrating a grand comeback on the social web. Provided, to stay with Jobs' words, that the product and dramatization sparkle with insight and creativity. "Customized Botteling" is what you could call last year's Coca-Cola campaign, in which users could have their names put on real bottles. In 2013, Coca-Cola Israel experimented with a 3D printer campaign when launching the new "mini-bottles". Consumers could win a 3D printed plastic mini-figure of themselves as part of a competition. The creators of the "Coke Social Can" story thought that half the fun is twice the pleasure. It is a can that can be split in two. The divisible Social Can lets friends share in the pleasure of Coca-Cola in no time at all. Thanks to its physical properties, the product itself becomes a shareable social medium. Who invented it? The creators of the Oreo campaigns have brought their cream and chocolate cookies into the top ten of the global Facebook ranking for brands thanks to creative snack recipes. Last year's "Daily Twist" was masterful. For 100 days in a row from June to September, there were stories in which current events were dramatized using the product features. For example, with an animation on the occasion of the full moon on August 2 or with the staging of the cookie as a button at the start of New York Fashion Week. It will be interesting to see whether the Rivella campaign makers try their hand at similar staging. The brand, product and recipes undoubtedly have what it takes to become a social web classic ...

Clickbaiting snack recipe:

The social web is not really fair. Products, for example, have it easier than service providers. Because physically tangible objects are social media boosters. Service providers need stirrups. Gadgets, for example, as explained, or the power of good stories. And here, a new style is currently conquering the social web. The headlines that most effectively entice users worldwide to click and share are based on the clickbaiting formula. So far, the technique has mainly been used on news portals with exploding user numbers. Hence the hype. These include Buzzfeed and Upworthy from the USA, but also portals such as Heftig from Germany or LikeMag and Storyfilter.com from Switzerland are now challenging the established news portals for click domination.

The secret? The headlines are optimized in such a way that they specifically entice people to click. Examples (source: 20000flies.de): "This street musician got change from a girl. What happened next stunned the whole city." Or: "A woman meets a homeless man in Brazil. I would never have guessed what happened next." And although the subsequent stories rarely really fulfill expectations, the formula works. The subsequent retransmission rates on Twitter and Facebook are remarkable. It seems that users can be lured out of their click reserves in a news frenzy with curious and pseudo-curious snacks. Caution and quality are required when using them in an advertising and marketing context. But it is certainly worth a try. And here at www.upworthygenerator. com you can go straight to the Upworthy generator - the training ground for all those who feel like taking their first steps in writing click-baiting headlines ...

Snack recipe Brands as Friends:

Nutella celebrates its 50th birthday and a user posts a homemade cake on Instagram and Twitter - two layers of Oreo cream and one layer of Nutella chocolate cream. The teaming up of brands on the social web is my personal snack tip. Brands are bringing each other into their campaigns in an appropriate way to gain visibility in each other's user base. There are three forms of interaction. The Nutella case described above is the most effective because it comes from the user community itself.

As a rule, such user stories result from a mix of very positive product experiences with emotional brand loyalty, incessantly creative brand management and profound knowledge in dealing with as many media genres as possible. Then there is the form of agreed collaboration with licenses. Coca-Cola is known for its licensing business and, as can be read on adage.com, has "clawed" a brand from the beauty segment as its latest partner. Whereby "clawed" is to be understood quite literally. This is OPI, a company that is using the Coca-Cola red to launch a new nail polish. The beverage giant is showing its colors and the relatively unknown OPI brand is likely to gain additional users as a result. The third form involves a lot of creativity and spontaneity, but rarely money. As part of its "I want to invent" campaign, General Electric called on users to post their dream inventions on Twitter, which GE's developers immediately sketched out and published on Twitter and the website for all users to see using the hashtag #Iwanttoinvent. Chewing gum stuck in litter garbage cans is annoying. This is also a thorn in the side of the makers of Trident chewing gum. And so the Trident team sent a tweet asking GE to think about a waste bin that would put an end to the annoying sticking. Tweeted, invented: An integrated heating system as a solution. It's an exciting approach to involve yourself as a brand in other brands' campaigns in an appropriate way in order to gain visibility in their user circles ... My question: Who knows other snack recipes for social media? I look forward to hearing lots of snackables from your practice on my blog www.huerlimanncc.com.

Beat Hürlimann

Giorgio Pardini, Head of the Telecom/IT sector, writes in the Syndicom report that the Tamedia publishing group has refused to engage in a constructive social partnership dialog with the relevant trade unions for years. Journalists have not been subject to a CLA for 10 years. Tamedia and the publishers' association have rejected every compromise proposed by the unions. The question of how Tamedia intends to secure financing for the announced takeover of Local.ch is also unanswered, Pardini continued. Specifically, he asks: "How will the planned takeover be financed within the Tamedia Group?"

Swisscom, on the other hand, already holds a 51% stake in Local.ch and has a right of first refusal, explains Pardini. Last year, a new company CLA was concluded with local.ch, whereby not only material improvements but also union participation rights were further expanded. Pardini believes that the consequences of a takeover by Swisscom are foreseeable: "A complete integration of Local.ch into Swisscom and financing through own funds, which means that no other business areas have to fear disadvantages." In the interests of Local.ch's employees, full integration into Swisscom would therefore be the only right thing to do.
 

However, a study by scientists at Murdoch University in Australia has now shown that interactive advertising games on the Internet and interactively extended TV commercials on smart TV do not achieve a higher advertising impact than traditional TV commercials. On the contrary: classic commercials actually perform slightly better. Advergames embed brands in an interactive, playful context. Coke Zero, for example, lets consumers race cars, and the bargain portal QoQa invites us to give ex-bachelor Vujo a virtual slap in the face. The classic domain of such advergames is the Internet, but smart TVs are now also bringing them to the TV screen. In this way, TV commercials can be extended interactively by giving consumers the opportunity to play the advertising games on the TV set after a TV commercial. From a marketing perspective, the question arises as to what advergames can achieve. Do they offer advertisers - stand-alone or as an interactive commercial extension - a higher impact than classic TV commercials? To answer this question, the Murdoch University research team conducted an experiment with 233 Australian consumers. The participants were divided into three groups. The TV group watched a sitcom in which classic TV commercials for four brands - from chocolate to toothpaste - were embedded. Consumers in the PC group were asked to play a simple advertising game (e.g. a quiz) for each brand. Finally, the participants in the Smart TV group were presented with both forms of advertising. They were also shown the sitcom including TV commercials, but here the commercials were extended interactively. The test subjects had the option of using the red button on the remote control to call up the advertising game that matched the respective commercial.

The surprising result: interactivity does not necessarily offer advantages. According to the experiment, interactive advergames do not achieve a higher advertising impact than normal commercials, neither on their own nor integrated into TV commercials. The details show that the classic 30-second spots even lead to a slightly more positive attitude towards the advertised brands than the interactive alternatives. The test subjects in the TV group have a better image of the brands (Ø=5.56 on a 7-point scale) than the consumers in the PC group (5.32) and the Smart TV group (5.43). The so-called "telepresence" effects generated by the three advertising environments examined are a decisive factor in this result. Telepresence refers to the extent to which the respective form of advertising succeeds in captivating consumers and immersing them in the storyline and environment. Previous studies have shown that a higher telepresence boosts the advertising impact, and the present study also shows a positive effect of telepresence on the perception of the advertised brands. Telepresence is therefore an important indicator of advertising impact. However, contrary to their original assumption, the researchers found in this context that the interactivity of the advergames does not captivate consumers more than TV commercials can. Telepresence is even slightly more pronounced in the TV group (Ø=3.27 on a 7-point scale) than in the smart TV group (3.14) and the PC group (3.05). Classic TV commercials are therefore very successful at "abducting" consumers into other worlds that are exciting for them, while advergames are unable to translate their interactivity into higher telepresence.

Clemens Koob

KEY FACTS
Advergames, which convey advertising messages to consumers in a playful way, can not only be used as stand-alone applications on the Internet, but also on smart TVs as an interactive extension of TV commercials.
However, the interactivity of advergames does not translate into advantages in terms of impact compared to classic TV commercials.
Classic TV commercials even lead to a slightly more positive attitude towards advertised brands (TV: Ø=5.56 on a 7-point scale, advergames stand-alone: 5.32, advergames as
spot extension: 5.43).
One reason: TV commercials create a higher telepresence (Ø=3.27 on a 7-point scale) than interactive advergames (stand-alone: 3.05, as a commercial extension: 3.14) - i.e. they make it easier to immerse oneself in another world.
 

The editorial team of Werbewoche has dug up 20 campaigns from the past year once again and thus compiled a shortlist. The "Campaign of the Year" will be announced at a gala at the "Dolder Grand" on June 5. The "Advertiser of the Year" will also be chosen at the closing of the "Swiss Brand Congress" on the same evening. Voting for the best campaign can be done on at Werbewoche.ch/voting-campaign-of-the-year. There, all 20 spots can be made to work with one click and you can also find the electronic "ballot".

Have fun looking at the best spots again.

 

Coke fans have been in for a surprise at the checkout of a large Brazilian supermarket chain. Their drink does not beep normally. Ogilvy Brazil has launched a campaign with the slogan "Coke opens happiness everywhere" to make consumers smile even before they open a Coke:

Not exactly exciting, Coca-Cola's Happy Beep. It makes you wonder: wasn't there a more interesting beep combination? This one sounds more like Coca-Cola Zero, without the carbonation. (uma)

 

The General Meeting of IAB Switzerland at Ringier's Pressehaus granted discharge to the entire Board. The previous president, Ueli Weber, announced his resignation from office after five years as president. Roger Baur, Managing Director of IAB Switzerland, expressed his sincere thanks for Ueli Weber's active commitment to the founding and development of IAB Switzerland. The General Meeting elected Stephan Obwegeser, Head of Digital Advertising & Services at Tamedia, as his successor.

Meanwhile, the association can look back on numerous events, publications and stable finances, according to a statement on Thursday. The "Digital Marketing Award" and the newly launched "Digital Marketing Summit" together attracted almost 500 guests to Kaufleuten and are therefore still considered a central industry event.

Reorganization of IAB Switzerland

From May 2015, IAB Switzerland will be managed in a matrix organization. The central aim of the new organization is to better unite the interests of publishers, clients and agencies, the statement continues. The new presidium is also composed with this in mind: Stephan Obwegeser is the new president of the specialist group marketers. He will be supported by his co-president Claus Bornholt, Head of Consulting at Futurecom Interactive and head of the specialist group agencies, as well as by David Burst, Project Manager Media at Migros-Genossenschafts-Bund and head of the specialist group customers. The future Presidium coordinates with the newly organized departments (Marketing, Research, Legal, Standards, Training) and focus groups (Performance, Mobile, Social Media, RTA, Moving Image). All of this is intended to ensure even more effective use of the IAB. The goal is to bundle the interests of all market participants in the IAB.
 

Three years before the EEA vote, Jean Ziegler was one of the few intellectuals and politicians interested in the first direct election to the supranational European Parliament: "I follow the European parliamentary elections full of anger in my stomach. Europe is taking shape before my eyes, slowly, with many birth pangs, but inevitably. But Switzerland, the home of Rousseau, is not taking part. I feel like a freshly caught Negro in the slave market." On May 25, the European Parliament will be renewed. In the meantime, there is definitely a European domestic politics. With the emergence of a European public it hapert. The reporting from Brussels and Strasbourg is insufficient in all national newspapers. Pan-European media - except ARTE - and intellectual debates are missing.

In our country, the corresponding balance is hardly better. However, Doris Leuthard meant something else with her strange "French-speaking Swiss newspapers are better" vote at the Swiss Media Forum: more depth, different emphasis, "more comprehensively embedded background" than in the German-speaking Swiss gazettes. The French may have been pleased - their main concern is the dependence of their newspapers, which are owned by Ringier and Tamedia. The quality newspaper Le Temps, now entirely owned by Ringier, has become anything but better for financial reasons. But still astonishingly and gratifyingly good. As if it had adopted the media minister's media scolding, the NZZ am Sonntag (which I like better than any newspaper in French-speaking Switzerland!) immediately demonstrated a great deal of closeness to French-speaking Switzerland. On May 11, it attested that the French federal councillors were a "class of their own". From now on, Hitzfeld's assistant Michel Pont writes a column: "Pont means bridge," the author himself explained. The column "Grenzerfahrung" (borderline experience), the weekly French alibi, states: "la nati" is also the measure of all things in French-speaking Switzerland.

So much bridge-building doesn't happen every Sunday, and reporting from other parts of the country hasn't become more intense over the years. Information transfer is characterized by deficits. Cultural exchange is all too often cultivated as a compulsory exercise. And it stops at national borders, which are nowhere language borders. More Europe: internally and externally! I consider the efforts of the NZZ to build up an editorial office in Austria and possibly Germany to be most gratifying. One should not blame it too much for the fact that the idea comes from an Austrian: It is a courageous response to the journalistic and political crisis in Switzerland.

It has grown closer under pressure from abroad and the euro crisis. In the years after 1992, the takeovers of the newspapers in Geneva and Lausanne would have triggered a rhetorical civil war against the cultural colonizers. Enthusiasm for Europe has dwindled everywhere. All the more remarkable is the confession that Roger Schawinski formulates in his autobiography. It is shaped by his history as the child of bitterly poor Jewish immigrants from Eastern Europe and upholds a historical consciousness that has been lost by the majority. For Schawinski, the EU remains the "most successful peace project in history." He is as grateful to it as he is for what Switzerland has made possible for him. What contribution his various media have made and are making to this, we will ask Doris Leuthard on occasion.

Jürg Altwegg is a correspondent for the Frankfurter Allgemeine Zeitung in Geneva.
 

The Adobe Summit EMEA took place in London on May 15 and 16. The congress in the ExCel Arena in Docklands is regarded as the leading trade fair in Europe for digital marketing and web-based innovations in this sector. 3800 marketing experts and advertisers, including 136 from Switzerland, listened to presentations from over 100 specialists from all over the world. One of the provocative theses was: "The most valuable thing for a brand company is no longer the product - it's its own customers." How these can be nurtured in an increasingly digital world was the common thread in most of the discussions. Under the motto "Reinventing Digital Marketing", Adobe wanted to highlight trends and practical examples in the field of digital marketing. In addition to high-ranking Adobe managers, the keynote speakers included Jez Frampton, Group CEO of Interbrand, Michael Aidan, Head of Digital at Danone, Gaston Legorburu, Worldwide Chief Creative Officer of Sapient Nitro, and actor Kurt Yaeger. A representative from the Vatican was also welcomed as a guest in the auditorium. Monsignor Lucia Adrian Ruiz amazed the audience by confessing that the Pope created his first website back in 1995 and now operates 46 different portals. But even if technology has changed radically since then: "Our content has been the same for 2000 years," the man of God earned many laughs for his punchline and also applause for his statement: "Content is above everything." This was also the credo of many other presentations, which followed each other every 45 minutes for two days in over 20 halls.

Creation and distribution

It goes without saying that the content of these panels was eagerly discussed on Twitter. Live streaming not only disseminated the findings of the summit in-house, but also around the world. Anyone who wants to "be there" afterwards can still find exciting insights and valuable links at www.adobe-newsroom.de. Marketing today is "in the age of the customer". This means that companies need to meet their customers where they are. For example, by delivering personalized and seamless user experiences across the entire range of mobile devices and social networks. "Data has never been as important as it is now to be able to offer our customers exactly what they expect from us," said the trend researchers at Adobe. In London, for example, they presented their "Adobe Digital Marketing Think Tank". This Europe-wide group of experts consists of five members representing the UK, Germany, France, Scandinavia and the Benelux countries. They meet several times a year to discuss new findings and perspectives on digital marketing.

Adobe's new business model

In the past, Adobe built up its business primarily in the area of graphic tools. Today, marketing tools account for one billion dollars of its annual turnover of over 4 billion dollars. Adobe Analytics is at the heart of the Adobe Marketing Cloud. It offers a wide range of integrated solutions for digital marketing. With a new version of Adobe Media Optimizer presented in London, the company aims to set new standards in campaign performance thanks to new forecasting functions. Another new feature is the live analysis of customer actions, which are fed into Adobe Analytics, including data from other modules such as Adobe Target or Adobe Social with all their futuristic gadgets.

Andreas Panzeri

 

In addition to the restaurant and event hall, the Kaufleuten building also houses the Swiss Association for Accounting, Controlling and Bookkeeping (VEB) and the Zurich Commercial Association (KVZ). By moving into the Kaufleuten offices, Swiss Marketing is also integrating itself geographically into Switzerland's leading business metropolis and consciously seeking proximity to important decision-makers in companies, educational institutions and associations, the trade association wrote in a press release on Thursday. "We are convinced that a modern industry association must have its finger on the pulse of economic activity and that we have found one of the best addresses in Switzerland in Kaufleuten," explains Uwe Tännler, President of Swiss Marketing.