Compares a 1950s Ford television commercial with a 1990s Volvo commercial. Discusses three major aspects of cubist television exemplified in the Volvo commercial: the destruction of Aristotelian viewer-to-stage distance using close-ups, the flattening of Renaissance deep-background perspective using telephoto zooms, and the implementation of an angled vision-in-motion using the studio robotcam or steadicam. (SR)