As for formal features, in recent advertisements abstraction is found not as a flat composition of graphical or animated elements, but as a reduction of pho- tographic images to a painterly arrangement of light and colour. However, the arrangement of the visuals based on music harks back to the concept of rhythm so central in the modernist avant-garde. An additional aspect common to both periods of advertisement production is the use of notable art-film directors (Fischinger, Ruttmann, Richter in the 1920s) or art-house directors (Luhrmann, Lynch, Wong Kar-wai in recent years), thus invoking specific cultural knowledge on the.
